Dissertations / Theses on the topic '1909-1942 Criticism and interpretation'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic '1909-1942 Criticism and interpretation.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Vachon, Jean-Olivier. "L'artiste-passeur chez J. A. Loranger et G. Roy, et, La grange traversee." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32949.
Full textMorin, Claude. "L'émergence de l'individualité dans les romans de Michel Tremblay." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60014.
Full textScherf, Kathleen Dorothy. "The collected poetry of Malcolm Lowry : a critical edition with a commentary." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/29384.
Full textArts, Faculty of
English, Department of
Graduate
Fortier, Dominique 1972. "L'écriture comme paradoxe : étude de l'oeuvre de Gabrielle Roy." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82873.
Full textThe second grouping, also governed by this principle of alternation whereby each book seems to be the contrary of the one that precedes it, examines works of autobiographical inspiration (Rue Deschambault and La Route d'Altamont) and allegorical, almost didactic narratives (La Montagne secrete, La Riviere sans repos).
The novels that form the third grouping no longer oppose each other but rather bear the signs of a reconciliation that will only be realised fully in Roy's autobiography, La Detresse et l'Enchantement. Cet ete qui chantait, Un jardin au bout du monde, Ces enfants de ma vie and De quoi t'ennuies-tu, Eveline? combine work of autobiographical inspiration and third-person narratives, eliminating the barriers between the realistic, ironic and idyllic universes.
To each distinct form chosen by the author correpond a particular voice and a specific style of writing, which, although differing from book to book, nonetheless share common elements: doubt and hesitation, oppositions, questionings and interrogations. These are indicative of a new paradox, lodged in the writing itself, and which reveals itself through the co-presence of opposing perspectives. The different voices and the points of views they express reappear in La Detresse et l'Enchantement and Le temps qui m'a manque, which make up the fourth and final grouping. In her autobiography, Roy integrates these voices in order not to merge them into one, but to allow them to express themselves in a first-person plural narrative.
Simpson, Beverly Hurley. "Discovering the heart's truth : female initiation in the novels of Eudora Welty." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/546128.
Full textDepartment of English
Hong, Kimberly Yuen 1984. "Tear Down the Veils: Francis Bacon's Papal Variations 1946-1971." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/9871.
Full textTwentieth-century British figurative painter Francis Bacon (1909-1992) is perhaps best known for his near-obsessive series of papal paintings inspired by Diego Velazquez' renowned portrait Pope Innocent X (1650) and created over the course of Bacon's entire artistic career. The artist's working process plays a crucial role in understanding this celebrated and varied series. Bacon deliberately avoided Velazquez' "original" portrait, preferring instead to work with photographic reproductions of the piece alongside a large collection of seemingly disparate visual material in his chaotic studio at 7 Reece Mews (South Kensington, London, England). This thesis proposes that Bacon explored issues of mechanization, fragmentation, and repetition through these visual juxtapositions in order to offer a critique of artistic and religious institutions.
Committee in Charge: Dr. Kate Mondloch, Chair; Dr. Lauren G. Kilroy; Dr. Ellen Rees
Loisel, Robert. "Figurines, suivi d'une, Etude de personnages." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30184.
Full textThe second part of this thesis is an analysis of two Stefan Zweig short stories. In my analysis, I try to determine at which moment a character passes from being simply a character on paper to a "living" character. Thereby, I hope to disprove Florence Goyet's theory that a short story character is merely subjugated to a structure. I use the theory of reception, as Vincent Jouve used it to study novels.
彭依伊. "尋找蕭紅: 作家多重形象跨文本研究= In search of Xiao Hong: an intertextual study of a writer's multiple images." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/567.
Full textDougherty, Karen. "Dorothy Livesay and William Blake : the situation of the self." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68083.
Full textHyman, Mitchell. "The style of Daniel Fuchs /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65553.
Full textMcCormack, Christopher. "Cracking the codes : a textual and editorial examination of John Fante's literature." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33914.
Full textNoubani, Tina. "Le Canada dans l'œuvre de Gabrielle Roy /." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61965.
Full textMarcotte, Sophie 1973. "Le récit d'enfance dans l'écriture autobiographique de Gabrielle Roy /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26742.
Full textDesruisseaux-Talbot, Amélie. "Le dernier souffle autobiographique : J.-J. Rousseau et Gabrielle Roy." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79930.
Full textGrove, Dana Anthony. "Malcolm Lowry's design-governing postures : a rhetorical analysis of Under the volcano." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/434855.
Full textLacharité, Marie-Josée. "La dynamique d'enfermement dans les Chroniques du Plateau Mont-Royal de Michel Tremblet [sic] /." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112404.
Full textRichardson, Rébecca A. S. "Gabrielle Roy dans l'univers de Jacques Poulin." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99746.
Full textRozmovits, Linda 1959. "A.M. Klein and modernism." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64004.
Full textMullins, Nigel Lorraine Griffin. "A perspective on the question of the absence or presence of religious beliefs relating to elements of modern artistic endeavour, with special reference to the life and work of Francis Bacon." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1007710.
Full textVrba, Marya. "The literary dream in German Central Europe, 1900-1925 : a selective study of the writings of Kafka, Kubin, Meyrink, Musil and Schnitzler." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42396.
Full textMarion, Carol A. v. "Distorted Traditions: the Use of the Grotesque in the Short Fiction of Eudora Welty, Carson Mccullers, Flannery O'connor, and Bobbie Ann Mason." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4591/.
Full textHickey, Sean. "The Vichy regime and its National Revolution in the political writings of Robert Brasillach, Marcel Déat, Jacques Doriot, and Pierre Drieu La Rochelle." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61117.
Full textDean, Camille G. "Bridging the Generation Gap in the Works of Gabrielle Roy." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4904.
Full textBell, Alan Nigel. "The male novelist and the 'woman question' George Meredith's presentation of his Heroines in The Egoist (1879) and Diana of the Crossways (1885)." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002245.
Full textLancaster, Daniel. "A Futile Quest for a Sustainable Relationship in Welty's Short Fiction." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3652/.
Full textKaze, Douglas Eric. "The environmental imagination in Arthur Nortje’s poetry." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/58024.
Full textSantos, Max Jefferson dos. "A poética contemporânea de Caetano Veloso por meio da literatura de quatro canções." Universidade Federal de Alagoas, 2008. http://www.repositorio.ufal.br/handle/riufal/1478.
Full textAnálise da poética-musical de Caetano Veloso em “London, London” (1970), “Adeus, meu Santo Amaro” (1971), “Sampa” (1978) e “Meu Rio” (2000) como tradução do comportamento do artista contemporâneo diante da presença imagética da cidade, cuja força produtiva leva o sujeito lírico, segundo uma visão negativista mas producente do ser poético, a tornar-se, além de espectador da realidade, o veículo e a linguagem pela qual se organiza o texto. Por isso, a cidade não é exclusivamente tema, mas, antes de tudo, desempenha papel discursivo, orienta a visão e produz uma imagem do real. Portanto, Caetano será observado como um músico-poeta contemporâneo que absorveu as propostas da tradição do moderno, segundo a teoria de Octavio Paz, e as categorias da negatividade, propostas por Hugo Friedrich, estabilizando-se num espaço mais consciente onde essas categorias, já descontextualizadas em relação à primeira modernidade, atualizam suas imagens e sentido poéticos, dentro da contemporaneidade, onde Danto a classificará como um estilo de usar estilos.
Arima, Hiroko 1959. "The Theme of Isolation in Selected Short Fiction of Kate Chopin, Katherine Anne Porter, and Eudora Welty." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278060/.
Full textBrito, Antonio Iraildo Alves de. "Uma voz que amplifica a Aldeia: as imagens do sertão na obra de Patativa do Assaré - do corpo às novas mídias." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21325.
Full textMade available in DSpace on 2018-08-09T12:32:51Z (GMT). No. of bitstreams: 1 Antonio Iraildo Alves de Brito.pdf: 883994 bytes, checksum: f3c6ebe6301b3014b8cf6338a0ee49ea (MD5) Previous issue date: 2018-06-29
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The research deals with analyzing and interpreting the images of the sertão in the poetry of Patativa do Assaré. The poet is a voice. The voice as a “symbolic place that cannot be defined otherwise than by a relation, a distance, a link between the subject and the object, between the object and the other” (ZUMTHOR, 2007, p. 83). Patativa would be “the echo of a very alive poetic time from the low antiquity” (ZUMTHOR, 1993, p. 73). The hypothesis is that it would be possible to find in the work of the sertanejo images that characterize a sertão in which, beyond the problems, there is life, fertility, beauty. It is known that the narrative about the sertão, in general, has a certain amount of stereotype or exotic veneer. In literature, for example, writers and intellectuals who are fond of only fad, without regard to translation and varied repertoires, offer the exoticism of the sertão, reducing human problems to a picturesque element (CÂNDIDO, 2006a). In the mainstream media is no different. The popular talk is caricatured, and the sertão is almost always sterile, without color, with disfigured human types. In the work of Patativa do Assaré, however, it would be possible to verify the landscapes of a beautiful sertão, which is capable of multiple interactions. As a baroque composition, it includes human types, fauna, flora, music, dance, clothing, garments, food, walking, talking, working, and celebrating; which is a picture of complexity, of affection, of compassion. By his language, which is neither high nor low, but the mixture of the two, the poet is mediation (MARTÍN-BARBERO, 2013). He uses a language that does not originate from the impositions charged by the commercialization and adaptation of the taste to some formats, but from the modes of the popular narrating, permeated by a peculiar linguistic variety. His work seems to translate a sertão of many mixes; mestizo and caboclo, presenting a possible horizon of continuities and extensions (LAPLANTINE; NOUSS, 2002). Or in other words, a plot of a sertão made of mobile processes in its multiple connections, of paths to be transposed: borders (FERREIRA, 2010). Thus, In this study, the body is considered as source and origin of communication. The body as a catalyst for communicational environments, simply because it is present (BAITELLO, 2008, p. 99); hence the constitutive aspects of performance, especially the gesture and the role of the voice. The work takes into account “communication as a search for relationship and sharing with the other” (WOLTON, 2006). The poet would find himself in the same perspective as “many creators, artists and writers (who) project in the blends of the world new lights that the social sciences do not always provide” (GRUZINSKI, 2001, p. 41). The interpretative analytical method takes into account the poems themselves, the fittings and the mediations contained in them (PINHEIRO, 2013)
pesquisa se ocupa de analisar e interpretar as imagens do sertão na poética de Patativa do Assaré. O poeta é voz. A voz como “lugar simbólico que não pode ser definido de outra forma que por uma relação, uma distância, uma articulação entre o sujeito e o objeto, entre o objeto e o outro” (ZUMTHOR, 2007, p. 83). Patativa seria “o eco de um tempo poético muito vivo desde a baixa Antiguidade” (ZUMTHOR, 1993, p. 73). A hipótese é de que seria possível encontrar, na obra do sertanejo, imagens que caracterizam um sertão em que, para além dos problemas, há vida, fertilidade, beleza. Sabe-se que a narrativa sobre o sertão, em geral, tem certa dose de estereótipo ou verniz exótica. Na literatura, por exemplo, escritores e intelectuais afeitos apenas ao modismo, sem levar em conta a tradução e repertórios variados, oferecem o exotismo do sertão, reduzindo os problemas humanos a elemento pitoresco (CÂNDIDO, 2006a). Na grande mídia não é diferente. Faz-se caricatura do falar popular, e o sertão é apresentado quase sempre estéril, sem cor, com tipos humanos desfigurados. Na obra de Patativa do Assaré, porém, seria possível verificar as paisagens de um sertão belo e capaz de interações múltiplas. Como uma composição barroca, nela se inserem os tipos humanos, a fauna, a flora, a música, a dança, as vestimentas, as indumentárias, a comida, a forma de andar, de falar, de trabalhar, de festejar; qual um quadro de complexidade, de afetos, de compaixão. Por sua linguagem, que não é alta nem baixa, mas a mistura das duas, o poeta é mediação (MARTÍN-BARBERO, 2013). Ele usa de uma linguagem que não se origina das imposições carregadas pela comercialização e adaptação do gosto a alguns formatos, mas dos modos do narrar popular, permeados de uma variedade linguística peculiar. Sua obra parece traduzir um sertão de muitas mesclas; mestiço e caboclo, apresentando um horizonte possível de continuidades e prolongamentos (LAPLANTINE; NOUSS, 2002). Ou, noutras palavras, o enredo de um sertão feito de processos móveis em suas múltiplas conexões, de percursos a transpor: bordas (FERREIRA, 2010). Assim, neste estudo, considera-se o corpo como fonte e origem da comunicação. O corpo como catalisador de ambientes comunicacionais, pelo simples fato de estar presente (BAITELLO, 2008, p. 99); daí os aspectos constitutivos da performance, especialmente a gestualidade e o papel da voz. O trabalho leva em conta “a comunicação como busca da relação e do compartilhamento com o outro” (WOLTON, 2006). O poeta se localizaria na mesma perspectiva de “muitos criadores, artistas e escritores (que) projetam nas misturas do mundo novas luzes que nem sempre as ciências sociais fornecem” (GRUZINSKI, 2001, p. 41). O método analítico-interpretativo leva em conta as indicações dos próprios poemas, dos encaixes e das mediações contidas neles (PINHEIRO, 2013)
Babinski, Karla de Souza. "Representações de ciência e tecnologia em Gustavo Barroso (1909-1935): nacionalismo autoritário, eugenia e antissemitismo." Universidade Tecnológica Federal do Paraná, 2015. http://repositorio.utfpr.edu.br/jspui/handle/1/1641.
Full textO presente estudo focaliza as representações de ciência e tecnologia no pensamento do intelectual Gustavo Barroso entre o período de 1909 e 1935. Sendo um dos principais líderes da Ação Integralista Brasileira, averiguaremos especialmente a sua visão eugênica, anterior a sua participação no integralismo e a influência dessa ciência na construção de seu pensamento autoritário e antissemita. Procuramos perceber o diálogo de Gustavo Barroso, em um contexto de profundas transformações sociais e políticas, com a busca de um nacionalismo “verdadeiramente brasileiro”. A metodologia utilizada foi a pesquisa de cunho bibliográfica e documental, destacando-se a análise dos livros de Gustavo Barroso, que foram utilizados como fontes primárias: Intelligencia das Coisas(1923), Aquém da Atlântida (1931), Brasil Colônia de Banqueiros (1934), O Integralismo de Norte a Sul (1934), O Quarto Império (1935) e A Palavra e o Pensamento Integralista (1935), além de alguns de seus artigos pesquisados no acervo do Museu Histórico Nacional. Os resultados da pesquisa demonstram que neste período Gustavo Barroso passou a desenvolver em seus escritos uma visão política autoritária, eugênica e posteriormente, no integralismo, ligada fortemente ao antissemitismo.
This study focuses on the representations of science and technology in the thinking of the Brazilian intellectual Gustavo Barroso in the period between 1909 and 1935. As one of the main leaders of the Brazilian Integralism, we will discuss,especially, his eugenic vision, prior to his participation in integralism and the influence of this science in building his authoritarian and anti-Semitic thinking. We seek to realize Gustavo Barroso dialogue, in a context of profound social and political changes, with the search for a nationalism "truly Brazilian." The methodology used was of a documentary and literature research , highlighting the analysis of Gustavo Barroso books, which were used as primary sources: Intelligencia das Coisas(1923), Aquém da Atlântida (1931), Brasil Colônia de Banqueiros (1934), O Integralismo de Norte a Sul (1934), O Quarto Império (1935) e A Palavra e o Pensamento Integralista (1935), and, also, some of his articles surveyed in the National History Museum collection. The survey results show that in this period Gustavo Barroso went on to develop in his writings an eugenic and authoritarian political vision, later, in his integralist phase, linked strongly to an anti-Semitic view.
Simmonds, Clive. "Publishing Swinburne : the poet, his publishers and critics." Thesis, University of Cambridge, 2013. http://www.repository.cam.ac.uk/handle/1810/245120.
Full textBenfey, Matthias Wilhelm. "Religious cinema as virtual religious experience : a theory of religious cinema applied to Werner Herzog's Herz aus Glas." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72087.
Full textThe thesis defines religious cinema as virtual religious experience; therefrom a theory of religious cinema is derived. This derivation depends on a discussion of the essential elements of the cinematic experience and permits the expansion of the category of religious cinema beyond its traditional frontier. Throughout the dissertation, a dialogue is maintained with general cinema theory on the one hand and religious cinema criticism on the other. The purpose of this dialogue is to increase credibility (in the former case) and to demonstrate originality (in the latter case).
Finally, extrapolating from a specific dialogue between Crossan and Ricoeur, a critical method is developed, then applied to Werner Herzog's Herz aus Glas, a transcription of which is included as an appendix.
Adams, Dana W. (Dana Wills). "Female Inheritors of Hawthorne's New England Literary Tradition." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279406/.
Full text馬若楠. "擺渡的意識 :文學改編的另一種解讀 : 從 "敘事倫理" 角度論小說 "白鹿原" 改編 =;Consciousness of ferrying : another interpretation of literary adaptation : an analysis of the adaptation on the Novel Bailuyuan from the perspective of narrative ethics." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954139.
Full textThoday, Heather Frances. "Lived spaces of representation : thirdspace and Janette Turner Hospital's political praxis of postmodernism /." Title page, abstract and table of contents only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09pht449.pdf.
Full textViegaz, Osvaldo Estrela. "Relações do campo de concentração e violência no contemporâneo: política, direito e exceção em Giorgio Agamben." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20686.
Full textMade available in DSpace on 2017-12-15T11:37:47Z (GMT). No. of bitstreams: 1 Osvaldo Estrela Viegaz.pdf: 1090762 bytes, checksum: b753074fdcecae0fcdd5f90e03f554fb (MD5) Previous issue date: 2017-12-04
Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
by means of this modest work we try to address some of the most important concepts of the work of the italian philosopher Giorgio Agamben and more specifically as his thesis on the relations of the concentration camp constitute the place of the city as the true paradigm of the modern. In the discussion of points such as the state of exception, the position of homo sacer in the structuring conjuncture of politics and law, and the incidence of these forms in the contemporary world, we try to insert in the discussion what Agamben considers most important to think modernity: what (still and insistently) remains of Auschwitz. Therefore, we raise important questions that focus on our own being and the daily relationships that it establishes with others in society, inscribing in violence and force-of-law the (im)possibility of self-criticism necessary for us, inserted in a reality evidently simulated, which leads us to believe in a reality that is far from the real reality, in a world in which democracies and their humanistic principles have buried all totalitarianism and filled the gaps that man's inhumanization caused without ever going through the necessary discussions about the which "subtracts" from Auschwitz. Biopolitics, paradox of sovereignty, governability, tanatopolitics. Far from appearing to be distant concepts in our daily lives, these terms are, in fact, revealed as ideals contained in sovereign power that we deal with every day, transposed into formulations that differ from living reality, in which democracy and its human principles conceal the real in the face of what is left of Auschwitz, a gap which we ignore and which we attempt to displace in our discussions, leading to incomplete responses to incomplete lives in an incomplete society within an equally incomplete worldwide contentment that insists on showing itself as already made, complete and finished, in which to ignore is more effective than to understand and in which to shout the dignity of the human person is more important than to understand who really is human in the present reality and under what conditions he is captured in all these relations of the concentration camp, putting in question our own life as life itself – naked life – and leading us to perhaps the most important question so that we must try to open the doors of the house of our conformism and pretended security and finally to see the gaps that Auschwitz left in the human itself, reaching the minimum of estrangement from the human that comes: how much of reality our illusion is capable to withstand?
por meio deste modesto trabalho procuramos abordar alguns dos mais importantes conceitos da obra do filósofo italiano Giorgio Agamben e mais especificamente como sua tese sobre as relações do campo de concentração se constituem no lugar da cidade como o verdadeiro paradigma do moderno. Elencando pontos como o estado de exceção, a posição do homo sacer na conjuntura estruturante da política e do direito e a incidência dessas formas no mundo contemporâneo, tentamos inserir na discussão o que Agamben considera de mais importante para se pensar a modernidade: o que (ainda e insistentemente) resta de Auschwitz. Levantamos, com isso, importantes questionamentos que se centram no próprio ser e nas relações diárias que este estabelece com os demais em sociedade, inscrevendo na violência e na força-de-lei a (im)possibilidade de autocrítica necessária para nós, inseridos numa realidade evidentemente simulacrada, que nos leva a crer numa realidade distante daquela realmente real, num mundo em que as democracias e seus princípios humanísticos soterraram todo o totalitarismo e preencheram as lacunas que a inhumanização do homem causaram sem nunca, porém, passar pelas necessárias discussões sobre o que “resta” de Auschwitz. Biopolítica, paradoxo da soberania, governabilidade, tanatopolítica. Longe de parecerem conceitos distantes em nosso cotidiano, estes termos se revelam, em verdade, como ideários contidos no poder soberano e que lidamos todos os dias, transvestidos em formulações discrepantes com a realidade vivente, em que a democracia e seus princípios humanos escondem a real face do que ainda resta de Auschwitz, lacuna esta que ignoramos e que tentamos deslocar em nossas discussões, levando a respostas incompletas para vidas incompletas numa sociedade incompleta dentro dum contento mundial igualmente incompleto e que insiste em transparecer como pronto, acabado e completo, em que ignorar é mais eficaz do que compreender e em que bradar a dignidade da pessoa humana é mais importante do que entender quem realmente é humano na atual realidade e em que condições ele está capturado em todas essas relações do campo de concentração, colocando em questão a nossa própria vida como vida mesmo – vida nua – e nos levando a talvez o mais importante questionamento que devemos nos fazer para, quem sabe assim, abrir as portas da casinha de nosso conformismo e pretensa segurança e finalmente enxergar as lacunas que Auschwitz deixou no próprio humano, alcançando o mínimo de estranhamento ao humano que vem: quanto de realidade nossa ilusão é capaz de suportar?
Pestana, Fernanda Cristina Martins 1985. "Objetos e afetos." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268934.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-25T01:45:38Z (GMT). No. of bitstreams: 1 Pestana_FernandaCristinaMartins_M.pdf: 63390233 bytes, checksum: 139e5c74982676f4df7546316658e560 (MD5) Previous issue date: 2014
Resumo: Objetos e afetos propõe a criação de um livro-objeto composto por três cadernos que esboçam, entre escritas e materialidades, a possibilidade de uma pesquisa-desenho. Uma proposta de inventar com a obra Vinte e um veleiros (s/ data), do artista brasileiro Arthur Bispo do Rosário (1909-1989), modos de habitar os objetos e o mundo. Traçar também junto a presença de Bispo na Trigésima Bienal de São Paulo ¿ a iminência das poéticas (2012) as problemáticas que envolvem a crítica e a divulgação cultural das artes visuais. Arte e loucura: palavras que constituem uma figura-Bispo que contorna as tentativas da crítica, entre biografias e bibliografias, de decifrar sua personalidade, encontrar em seus objetos possíveis narrativas que os fixem no compromisso com a representação de um mundo interno e pessoal. Essa pesquisa nasce da inquietação diante desse modelo com o qual a crítica e a divulgação cultural lidam com os feitos das artes visuais. Papel, linha e palavra são os materiais com os quais essa pesquisa pretende transbordar as margens dos dizeres que amarram artista e obra, e desenhar passagens para habitantes outros, entre sentidos e sensações, que movimentem as condições que estabilizam a existência dos objetos. Uma proposta de esboçar nos cadernos desse livro-objeto possibilidades em que os Veleiros, como compostos de sensações, possam ficar de pé sozinhos, independentes de determinações que os fixem a alguma identidade, temporalidade ou territorialidade dada. Investigar os vãos, as passagens, os respiros nos objetos; as vidas que podem acontecer, no encontro das linhas inesperadas e desconhecidas que desenham as páginas dos cadernos. Experimentar tomar o desenho como procedimento de pesquisa, em que a palavra torna-se matéria de experimentação, e escrita/leitura mantêm-se como gestos que rascunham passagens pelas quais seja possível perceber/potencializar uma misteriosa imensidão que atravessa a materialidade dos objetos ¿ afetos, brancos, vazios, silêncios, (in)dizíveis... Uma tentativa de pesquisa-desenho que quer, com a composição desses cadernos, despir os objetos em uma conversa na qual suas materialidades possam dizer-nos de segredos indescritíveis por palavras, ou ainda gotejar fragmentos de textos por/entre aberturas, texturas, plasticidades... Secar significações na possibilidade de compor uma vida outra com a escrita e a materialidade das coisas. Uma vontade de vasculhar modos de habitar uma imensidão de possibilidades, entre afetos, objetos e palavras, que compõem este livro-objeto. Transbordar as margens da própria pesquisa, desenhar passagens com as escritas tecidas
Abstract: Objects and affects proposes the creation of an book object composed of three notebooks drafting, between written and materialities, the possibility of a drawing-research. A proposal to invent with the work Vinte e um veleiros (Twenty-one sailboats) (undated), of Brazilian artist Arthur Bispo do Rosário (1909-1989), ways of inhabiting the objects and the world. Tracing also in Bispo presence at Thirtieth Biennial of São Paulo - the imminence of the poetic (2012) the set of problems involving the critical and cultural divulgation of the visual arts. Art and madness: words that make up a figure-Bispo outlining the attempts of criticism, from biographies and bibliographies, to decipher his personality, find in his work and objects possible narratives that determine them upon a commitment with the representation of an internal and personal world. This research comes from uneasiness about this model with criticism and cultural diffusion which deal with the feats of the visual arts. Paper, line and word are the materials with which this research aims to overflow the banks of the wording tying artist and work, and draw passages to habitants, other, between senses and sensations that move the conditions that stabilize the existence of objects. A proposal to draw, in the roll of that object-book, possibilities where sailboats, as compounds of sensations, can stand alone, independent of determinations which fix them to some identity, temporality or territoriality given. Investigate the gaps, passages, vents on objects; lives that can happen at the meeting of the unexpected and unknown lines that draw the pages of notebooks. Try taking the drawing as a research procedure, in which the word becomes matter of experimentation, and reading / writing remain as gestures sketching passages through which it is possible to perceive / enhance a mysterious immensity that crosses the materiality of objects ¿ affections, white, empty, silences, (un)speakable... A tentative of a drawing-research that want, with the composition of these notebooks, undressing objects in a conversation in which their materiality can tell us of unspeakable secrets by words, or dripping fragments of texts by/ between gaps, textures, plasticity... Dry meanings in the possibility of composing another life with writing and the materiality of things. A desire to scour ways of inhabiting a range of possibilities, between affects, objects and words that compose this book object. Overflowing the banks of the research, draw passages with woven written
Mestrado
Divulgação Científica e Cultural
Mestra em Divulgação Científica e Cultural
張明明. "論靳以短篇小說的浪漫主義風格 = The romantic style on the short stories of Jin Yi." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2101712.
Full textTelles, Luis Fernando Prado. "Narrativa sobre narrativas : uma interpretação sobre o romance e a modernidade (com uma leitura da obra de Antonio Lobo Antunes)." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270245.
Full textTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-13T23:14:32Z (GMT). No. of bitstreams: 1 Telles_LuisFernandoPrado_D.pdf: 2751775 bytes, checksum: 8a0fcc134efdb76f5f2bd139c83bc1f5 (MD5) Previous issue date: 2009
Resumo: Esta tese consiste numa interpretação sobre o discurso teórico e o ficcional. Num primeiro momento, são trabalhados os discursos constitutivos das teorias sobre a modernidade e sobre o romance; num segundo, aborda-se o discurso ficcional da obra do autor português António Lobo Antunes. O ponto em comum que orienta a interpretação nas diferentes frentes diz respeito ao interesse em investigar o estatuto da narrativa no âmbito desses discursos. Pretende-se demonstrar um fenômeno coincidente nos três campos de investigação, que diz respeito ao fato de a narrativa ser colocada em xeque, isto é, de o seu estatuto e a sua validade serem questionados e, concomitantemente, esse mesmo questionamento apontar para um retorno de sua validade e, conseqüentemente, para uma sua permanência. Isto é o que se procurou demonstrar pelo trabalho de interpretação de alguns discursos teóricos que buscaram pensar a passagem da modernidade à pósmodernidade, bem como daqueles que procuraram se constituir enquanto teorias do romance. O questionamento a respeito da possibilidade da morte da narrativa acabou demonstrando, paradoxalmente, um retorno ao narrativo; principalmente pelo fato de os próprios discursos que afirmaram isso acabarem se revelando, eles próprios, como construtos narrativos. Essa investigação de cunho teórico se mostra organizada na primeira parte do trabalho, intitulada A modernidade e a narrativa sobre o romance. Esta parte é composta por dois capítulos. No primeiro, procura-se construir um quadro compreensivo das principais questões pertinentes ao debate sobre a modernidade, o fim da modernidade e a pós-modernidade; em especial, dá-se relevância ao trabalho com as teorias de Gianni Vattimo e de Fredric Jameson. Este capítulo inicial intitula-se Mais uma pequena narrativa sobre o fim das grandes narrativas. O segundo capítulo, intitulado Romance: ou sobre como narrar um "mundo abandonado por deus", configura-se como um desdobramento das discussões apresentadas no primeiro e constitui-se de uma interpretação que se faz a partir da articulação da leitura de alguns dos principais estudos pertinentes à teoria do romance. Esta interpretação deve ser entendida como resultado de um construto narrativo também, tal como o que foi realizado no primeiro capítulo. A segunda parte da tese, intitulada A modernidade e a narrativa do romance, é composta pelo terceiro capítulo, em que se pretende construir uma interpretação sobre as variações formais das narrativas de António Lobo Antunes. Por esta, procura-se demonstrar como o já referido fenômeno paradoxal da negação e afirmação da narrativa ocorre no âmbito do discurso ficcional das obras do autor português, de modos distintos e em diferentes níveis. Nas duas últimas seções desse terceiro capítulo, busca-se uma articulação entre essa interpretação da obra de Lobo Antunes e aquelas realizadas nos dois capítulos anteriores. Não há um capítulo conclusivo
Abstract: This thesis consists of an interpretation about theoretical and fictional speech. In a first part, they are worked out as through several theories of the modernity and novel; after this, the work of the Portuguese author António Lobo Antunes is approached. The common point that guides the interpretation in such different fronts concerns the interest in investigating the statute of narrative in the realm of those discourses. It intends to demonstrate a coincident phenomenon in the three investigation fields, that concerns the capacity of the narrative to keep in check, that is, its statute and its validity they be questioned and, concomitantly, this questionment points for a return of its validity and, consequently, for its permanence. That was she tried to demonstrate for the work of interpretation of some theoretic speeches that looked for think about the passage of modernity to post-modernity, as well as those that sought to constitute as novel theories. The questionment regarding the possibility of the death of the narrative ended up demonstrating, paradoxically, a return to the narrative; mainly for the fact of the speeches that affirmed that ended up revealing theyself, as narrative constructs. This investigation of theoretic stamp is shown organized in the first part of the work, entitled The modernity and the narrative about the novel. This part is composed by two chapters. In the first, it tries to build an understanding picture of the main pertinent subjects to discussion about the modernity, the end of modernity and the post-modernity; specially, it feels relevance to the work with Gianni Vattimo's and Fredric Jameson's theories. This initial chapter is entitled One more little narrative about the end of the great narratives. The second chapter, entitled Novel: or about how to narrate an "abandoned world by god", it is configured as an unfolding of the discussions presented in the first and constituts of an interpretation that is done starting from the articulation of the reading of some of the main pertinent studies to the theory of the novel. This interpretation should be understood as a result of a narrative construct also, as what it was accomplished in the first chapter. The second part of theory, entitled The modernity and the narrative of the novel, is composed by the third chapter, which intends to build an interpretation about the formal variations of António Lobo Antunes' narratives. By this, it tries to demonstrate as the already referred paradoxical phenomenon of the denial and statement of the narrative happens in the extent of the fictional speech of the Portuguese author's works, of different ways and in different levels. In the last two sections of that third chapter, an articulation is looked between that interpretation of Lobo Antunes' work and those accomplished in the two previous chapters. There is no conclusive chapter
Doutorado
Literatura Portuguesa
Doutor em Teoria e História Literária
Souza, Ariane Carvalho [UNESP]. "Presença do naturalismo francês no romance epistolar O marido da adúltera, de Lúcio de Mendonça." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/94054.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
No romance epistolar O marido da adúltera, publicado em 1882 pelo escritor e jornalista Lúcio de Mendonça, encontram-se traços marcantes e inequívocos da estética naturalista desenvolvida, sobretudo, por Émile Zola. Neste trabalho, pretende-se verificar de que modo o idealizador da Academia Brasileira de Letras recebeu as ideias do Naturalismo e as inseriu em sua obra, verificando o processo de adaptação executado pelo autor brasileiro, que soube dialogar com a estética naturalista em voga na época, aplicando muitos de seus princípios, discordando de alguns deles. Cabe observar, igualmente, o fato de que Lúcio de Mendonça optou pelo romance epistolar, gênero pouco utilizado no Brasil do século XIX, mas fundamental para a construção desta obra. Esta pesquisa visa, portanto, analisar de que maneira o autor de O marido da adúltera utilizou-se do naturalismo francês para criar um romance epistolar brasileiro, publicado, originalmente, no periódico O Colombo, em forma de folhetim; característica, aliás, que se conserva no momento da publicação do romance em livro, em 1882
On the epistolary novel The adulterer’s husband, published in 1882 by the writer and journalist Lúcio de Mendonça, it‟s found distinctive features and unequivocal from the naturalist theory developed, especially, by Émile Zola. In the present paper, it‟s intended to verify what way the creator from the Brazilian Academy of Letters received the ideas of Naturalism and put them into his work, checking the adaptation process performed by the Brazilian author, who knew how to dialog with the naturalist aesthetics in common use that time, enforcing lots of his principles, disagreeing with some of them. It must be noted, equally, the fact that Lúcio de Mendonça chose the epistolary novel, a not very used gender in Brazil in XIX century, but something fundamental to this work to be made. Therefore, this research aims to analyze what way The adulterer’s husband’s author used the French naturalism to create the Brazilian epistolary novel, published, at first, by Colombo journal, as a soap opera; characteristics that, by the way, are preserved at the book‟s publishing moment, in 1882
Silva, Rodrigo Barbosa e. "Para além do movimento maker: um contraste de diferentes tendências em espaços de construção digital na Educação." Universidade Tecnológica Federal do Paraná, 2017. http://repositorio.utfpr.edu.br/jspui/handle/1/2816.
Full textSpaces dedicated to construction based on digital resources are taking part of public and private educational projects in Brazil as a result of the growing public interest in hands-on activities. These spaces are planned, built, and executed under transnational trends of digital construction. This Ph.D. thesis contrasts maker proposals, e.g. FabLabs, Maker Media, criticism to the Californian tecnoutopia, and FabLearn, in order to comprehend the origins, the aims and the implications of each one of these distinct proposals of technologies in Education. One considering the under-theorization of maker movement in general, which privileges the ´making´ over reflection, this thesis presents concepts of technology based on Alvaro Vieira Pinto, and praxis and freedom on Paulo Freire’s work, along a discussion of social basis of techniques on Science, Technology and Society Studies. It is a descriptive research about facts and phenomenons in an ongoing debate about Brazilian techno science and education. As results, it presents firstly a critical reflexive approach of diverse maker proposals, secondly a contribution to progressive education discussions, and thirdly the enrichment and expansion of national thinkers’ theories on technology and education. It concludes that FabLearn is consistent with Freire’s ideas of progressive education, and Alvaro Vieira Pinto’s philosophical and Paulo Freire’s educational thoughts can be filled in, based on an emancipatory and inclusive perspective of society, the theoretical gap of maker movement.
Wallace, Alicia. "Do You Know the Storm?: The Forgotten Lieder of Franz Schreker." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849748/.
Full textKomaitis, Christophas. "The role of tradition in the poetry of Yannis Ritsos." Thesis, 2012. http://hdl.handle.net/10210/6029.
Full textThe purpose of this study is to demonstrate the role which tradition plays in Ritsos' poetry. It constitutes three chapters: Ancient tradition in Ritsos' poetry but more especially in the poems of The Fourth Dimension. The Folk Song and Ritsos' Epitaph. Folk, Historical, Literary, and Religious tradition in Ritsos' poetry but more especially in the following poems: Romiossini ("Greekness'), Kira Ton Abelion ("Lady of the Vineyards'), Teratodes Aristourgima ("Monstrous Masterpiece'). In the early section of the first chapter, emphasis is placed on the presence of "myth" in Ritsos' poetry - myth, which enriches it with symbols and references drawn from the entire mythological nexus. Ritsos penetrates modern man's thoughts, feelings and actions. He applies the principle of objectivity, which at the same time is the "basic function" of his mythical method. In the second part, emphasis is placed not only on the dramatic monologues of Ritsos' Fourth Dimension but also on the manner in which the monologues relate with ancient drama, where Ritsos with his own personal and vivid style gives it that human drama which identifies with that of Greek tragedy. Furthermore, existing linguistic similarities and differences are illustrated which exist in The Fourth Dimension and ancient drama. The dramatic factor is examined in the poems and monologues as also on the demystification and the unheroic - a factor common to both Ritsos and Euripides. The second chapter demonstrates the influence of folk songs on Ritsos' poetry and more especially on the Epitaph. A detailed discussion is presented on the manner in which the Epitaph relates with the Laments (folk songs of grief and lamentation), with the following points of comparison used in this regard: use of the Fifteen Syllabic Metre, language, vocabulary, syntactical and paratactical elements, pleonastic uses, figures of speech, symmetry, rhyme and literary style, inter alia. The third chapter examines in detail the element of tradition (ancient, historical, literary, Christian, religious and folk-lyric factors) in the following poems: 'Romiossini' ('Greelcriess), 'Kira Ton Abelion' (Lady of the Vineyards) and 'Teratodes Aristourgima' (Monstrous Masterpiece '). The aim in this section is to ascertain (by means of direct and indirect examples drawn from Greek Tradition) the degree of influence which tradition exerts on Ritsos' work and the, manner in which Ritsos' work relates to it. Obvious similarities are pointed out - those which are contained in 'Romiossini' and Solomos"Eleftheri Poliorkimeni' ('The Free Besieged). Furthermore, similarities found in Sikelianos"/era Odos' ('The Sacred Way) and 'Kira Ton Abelion' ('Lady of the Vineyards) are compared with those found in Makriyannis and Theophilos (common element in Ritsos - Seferis-Elytis). Similarities found in 'Teratodes Aristourgima' (Monstrous Masterpiece) are compared with those of Kariotakis, Palamas ('Dodecalogos tou Giftou' - ' Gypsy's Dodecalogue), Porfiras, Varnalis, Tsirkas, 'Erophili and Erotocritos'.
Jalón, María Dolores. "La imagen del Cuchillo, símbolo de cosmovisión trágica en el libro el Rayo Que no Cesa, de Miguel Hernández." Diss., 2002. http://hdl.handle.net/10500/872.
Full textText in Spanish
The aim of this dissertation is to analyse those poems in which the image of the knife, el cuchillo, appears in the collection El rayo que no cesa, by Miguel Hernandez. The poet manifests his all-encompassing tragic view of life by means of this recurring negative symbol. The poetry of Miguel Hernandez is autobiographical: The universal themes of nature, love and death reveal a close link between the course of his life and the evolution of his poetry. El rayo que no cesa is central to the evolution of Hernandez's poetry: it is the product of the crisis of conscience that propelled the poet toward a radical change of world-view. The book reveals his frustration with love within the rigid norms of the society of his time. The poet expresses his bitterness by means of destructive images such as knife, sword, and ray/flash, images that project the tragic fate that threatened his entire existence.
Esta disertacion tiene por objeto analizar los poemas en que aparece la imagen del cuchillo en el libro El rayo que no cesa, de Miguel Hernandez, y demostrar que la insistencia de este simbolo negativo revela la cosmovisi6n tragic a que de 1a vida tenia el poeta. La poesia de Miguel Hernandez es poesia autobiogr&fica. La trayectoria de su vida esta intimamente ligada a la evolution de su obra en los temas universales de la naturaleza, el amor y la muerte. El rayo que no cesa es libro clave en su evolution pues es fruto de la crisis de conciencia que motiva en el poeta una metamorfosis ideol6gica. Este libro desvela su amor frustrado debido a las normas rigidas de la sotiedad de la epoca. Miguel Hernandez expresa su amargura con imageries destructivas como cuchillo, espada y rayo, imagenes que presagian la amenaza de un destino tragico que abarco toda su existencia.
Classics & Modern European Languages
M.A. (Spanish)
Jalon, Maria Dolores. "Imagen del Cuchillo, simbolo de cosmovision tragica en el libro el Rayo Que no Cesa, de Miguel Hernandez." Diss., 2002. http://hdl.handle.net/10500/872.
Full textText in Spanish
The aim of this dissertation is to analyse those poems in which the image of the knife, el cuchillo, appears in the collection El rayo que no cesa, by Miguel Hernandez. The poet manifests his all-encompassing tragic view of life by means of this recurring negative symbol. The poetry of Miguel Hernandez is autobiographical: The universal themes of nature, love and death reveal a close link between the course of his life and the evolution of his poetry. El rayo que no cesa is central to the evolution of Hernandez's poetry: it is the product of the crisis of conscience that propelled the poet toward a radical change of world-view. The book reveals his frustration with love within the rigid norms of the society of his time. The poet expresses his bitterness by means of destructive images such as knife, sword, and ray/flash, images that project the tragic fate that threatened his entire existence.
Esta disertacion tiene por objeto analizar los poemas en que aparece la imagen del cuchillo en el libro El rayo que no cesa, de Miguel Hernandez, y demostrar que la insistencia de este simbolo negativo revela la cosmovisi6n tragic a que de 1a vida tenia el poeta. La poesia de Miguel Hernandez es poesia autobiogr&fica. La trayectoria de su vida esta intimamente ligada a la evolution de su obra en los temas universales de la naturaleza, el amor y la muerte. El rayo que no cesa es libro clave en su evolution pues es fruto de la crisis de conciencia que motiva en el poeta una metamorfosis ideol6gica. Este libro desvela su amor frustrado debido a las normas rigidas de la sotiedad de la epoca. Miguel Hernandez expresa su amargura con imageries destructivas como cuchillo, espada y rayo, imagenes que presagian la amenaza de un destino tragico que abarco toda su existencia.
Classics and Modern European Languages
M.A. (Spanish)
Bürklin-Aulinger, Elvira. "Geschichte in Literatur-- Literatur als Geschichte: Fürst Pücklers literarische Stellungnahme zu den historisch-politischen und sozialen Zuständen seiner Zeit dargestellt an den Werken : Briefe eines Verstorbenen, Tutti Frutti und Südöstlicher Bildersaal." Thesis, 1993. http://hdl.handle.net/2429/1942.
Full textBeales, Brodie Jane. "Becoming-Dionysian : art, exploration and the human condition in the works of Rimbaud, Burroughs and Bacon / Brodie Beales." 2005. http://hdl.handle.net/2440/22229.
Full textxii, 324 p., [31] leaves of plates : col. ill. ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Thesis (Ph.D.)--University of Adelaide, School of Humanities, 2005
Meda, Marie-Paule. "Identité, déplacement et différence dans trois textes autobiographiques féminins." Thesis, 1995. http://hdl.handle.net/2429/7542.
Full text"現實與象徵: 論蕭紅作品中人物的身份探尋." 2000. http://library.cuhk.edu.hk/record=b6073803.
Full text論文(博士)--香港中文大學, 2000.
參考文獻 (p. 389-435)
中英文摘要.
Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Chen Jieyi.
Lun wen (bo shi)--Xianggang Zhong wen da xue, 2000.
Can kao wen xian (p. 389-435)
Zhong Ying wen zhai yao.
Mtuze, Kutala Primrose. "Transformation and socio-political change in selected isiXhosa novels 1909 - 2006." Thesis, 2008. http://hdl.handle.net/10500/2402.
Full textAfrican Languages
D. Litt, et Phil. (African Languages)