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1
Hoffman, Leonora. "Konflikdinamika binne 'n staalmaatskappy te Potchefstroom / Leonora Hoffman." Thesis, North-West University, 2006. http://hdl.handle.net/10394/1222.
Full textAbstract:
South African organizations experienced more conflict in the past ten years because
of all the changes in the management of labour relations. Employees at lower, middle
and upper management levels within organizations are not well informed about the
different types of conflict, the functionality and dysfunctionality of conflict, how
conflict takes place within the different job-levels and how to manage and resolve it.
Dysfunctional conflict can be destructive and it can affect the productivity of the
organization.
Because of the lack of knowledge regarding conflict within the steel organization and
the necessity for it to be handled correctly, it was decided to seize the opportunity to
contribute to the existing knowledge of conflict.
Objectives of the study
The major objectives of this study are as follows:
To determine how literature conceptualizes conflict dynamics by examining
theory, industrial sociology, organizational behaviour and general
management.
To determine the following aspects by means of an empirical study:
- What the main reasons are for conflict within the steel organization.
- How the handling of conflict differs among the middle and lower
job levels within the organization.
Research study and methodology
The research study is divided into a theoretical and an empirical framework. Chapters 2,
3 and 4 outline the theoretical basis. Various aspects of conflict and handling or
managing it are discussed in detail. The study employs the conflict theories of Ralph
Dahrendorf and Karl Marx as points of departure, as found in chapter 2, in an attempt to
provide a framework for the problem statement and to attempt the attainment of the set of
objectives. This chapter discusses conflict and analyzes it as a social interaction
characterized by force, strife and animosity. It also offers and analysis of Dahrendorf s
and Marx's theories to determine their suitability to the study.
Chapter 3 discusses conflict within a business context with reference to functional and
dysfunctional conflict. different approaches to conflict. types of conflict, different
reactions to conflict as well as its different stages. Chapter 4 addresses the course,
handling and management of conflict by analyzing the conflict process while it keeps the
theories of Marx and Dahrendorf in mind.
Chapter 5 analyzes and describes the data and results found by means of empirical
research according to specific statistical methods. The empirical study was conducted
among the employees of a steel company. A standardised questionnaire and personal
interviews were used.
Major findings
Chapter 6 consists of analysed information about the assembled data. The major findings
of the study support the set of research objectives and prove all of them. Major findings
include the following:
Cooperation, discipline and communication are problem areas within the
steel organization.
A large number of employees show dissatisfaction about the nature and
extent of their work.
Some of the employees misuse their authority and this is a major cause of
conflict.
A total of 95% of the population show that they would like further training in
the dynamics of conflict management.
Half of the population show that they are unaware of any policies and
procedures of conflict management in the steel company.
Conclusion
In conclusion as found in chapter 6 the study makes a number of recommendations
centring on the training of employees to handle conflict and policy-making about
conflict-handling and management.Thesis (M.A. (Industrial Sociology))--North-West University, Potchefstroom Campus, 2006.
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Ryd, Gunilla. "Ténicas och estrategicas literarias en "Leonora" de Elena Poniatowska." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-18691.
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The subject of this thesis is Leonora written by Elena Poniatowska. The aim of the study is to analyze the literary technique and strategy used in constructing this book which depicts the life of a famous painter, Leonora Carrington. The analysis concentrates on two aspects: the extent of its feminist character and whether it can be classified as a fictional biography or a biographic fiction. In order to arrive at a conclusion on these issues a brief summary of literary and feminist theory is presented as well as a short description of relevant aspects of the surrealist movement. According to the author Leonora does not pretend to be a biography but rather a tribute to a great woman and artist. This esay however sustains that the book is a feminist fictional biography. In fact it builds upon books written by Carrington herself with a highly autobiographical content as well as on biographical texts. Both the author and her protoganist are well-known for their feminist stand and the analysis shows how feminist theory or thinking is reflected both on behalf on the writer as well as in the construction of the hero and certain aspects of her life that build up this biographical fiction.
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Martinez, Fanny. "Remedios Varo et Leonora Carrington en miroir : images croisées." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30043/document.
Full textAbstract:
Cette thèse est consacrée à l’étude en regard l’une de l’autre des œuvres picturales et littéraires de deux artistes nées en Europe, qui fréquentèrent les cercles surréalistes parisiens dans les années 30 avant de s’exiler au Mexique durant la seconde guerre mondiale : Remedios Varo (1908-1963) et Leonora Carrington (1917-2011). Il s’agit de rechercher les points de convergence et les divergences entre les processus créatifs des deux artistes, de faire dialoguer leurs œuvres et d’interroger leurs points de collaboration créative, en se centrant sur la question des images. L’approche proposée dans ce travail est tout à la fois comparative et pluridisciplinaire, puisqu’elle s’élabore au croisement de l’histoire de l’art, de l’analyse littéraire, de l’analyse picturale et de la civilisation.Le concept d’image, dont la délimitation fait l’objet du préambule, est entendu dans quasiment toutes ses acceptions – depuis l’image picturale et l’image verbale jusqu’à l’image mentale, dont l’image onirique – et est conçu comme lieu d’intersection par excellence.La première partie de ce travail explore la question de la fabrique des images ou, pour utiliser une métaphore empruntée au langage alchimique, du laboratoire des images. Le chapitre 1 présente et théorise l’image surréaliste afin de démontrer la manière dont les deux créatrices ont su s’approprier l’« esprit » du surréalisme, invitation à une remise en cause du monde visible, pour mieux le dépasser à travers l’élaboration de « modèles de monde », en analogie avec certains processus alchimiques et occultistes. Le chapitre 2 envisage pour sa part l’exil non pas seulement comme un contexte historique et culturel ayant donné lieu à de profondes dynamiques d’influences mutuelles, mais comme une notion pivot permettant d’appréhender les phénomènes de réappropriations, d’hybridations, de transfusions créatives ou de transgressions à l’œuvre dans leurs productions.La seconde partie approfondit la mise en regard des images des deux artistes suivant un mouvement dialectique unissant images-reflets et images-distorsions. Le chapitre 3 entreprend l’analyse des autoreprésentations féminines et s’attache à mettre en évidence la façon dont celles-ci défient les images du féminin élaborées par les créateurs surréalistes masculins ; les notions de déguisement, de travestissement et de mascarade sont examinées et présentées comme inséparables de la quête de soi. Le chapitre 4, enfin, s’intéresse aux « miroirs de la relation » et à la « relation aux miroirs » des deux artistes. Dans un premier temps sont abordées les représentations de l’amitié créative unissant les deux artistes dans leur œuvre, notamment écrite, et les mécanismes de fictionnalisation qui les soutiennent. Les jeux de miroirs qu’ont disposés entre leurs images les deux femmes en écrivant à quatre mains sont ensuite analysés, ainsi que le motif pictural du miroir, lequel peut être considéré comme un emblème de la démarche créative de Remedios Varo et de Leonora Carrington, objet symbolique et magique plus que dispositif spéculaireThis PhD dissertation focuses on a literary and pictorial comparative analysis of European-born artists Remedios Varo (1908-1963) and Leonora Carrington (1917-2011) who, in the 1930s, participated in the Surrealist group in Paris and then went into exile in Mexico during World War II. The purpose of this study is to identify points of convergence and divergence in the creative process of these two artists. Equally important, this thesis will endeavor to enable a dialogue between their artworks and to examine their creative collaboration while focusing on the concept of images. The standpoint of this dissertation is at the same time comparative and multidisciplinary, for it is formulated at the junction of art history, literary analysis, pictorial analysis, and history.The notion of image, the conceptual contours of which are explained in the preamble 2 is to be understood in almost all of its significations – from pictorial and verbal image to mind-made image, in which oneiric image is to be included – and is seen as a conceptual intersection point par excellence.The first part of this study questions the construction of images or, using a metaphor borrowed from the alchemical language, the image laboratory. Chapter 1 introduces and theorizes the notion of surrealist image in order to reveal the ways in which both artists integrated into their works the surrealist state of mind, being an invitation to question the visible world, and went beyond it through the elaboration of “world models”, by analogy with specific alchemical and occultist processes. Chapter 2 not only considers exile as a historical and cultural context that gave way to profound mutual and dynamic influences, but also as a pivotal notion that enables to comprehend, in their productions, phenomena of reappropriation, hybridization, creative transfusion and transgression.The second part delves deeper into the comparison of images realized by both artists – an analysis that follows a dialectical pattern that combines the concepts of image-reflections and image-distortions. Chapter 3 analyzes female self-representations and is dedicated to reveal the way in which these representations challenge the images of the feminine as elaborated by male surrealist creators. Notions of transvestism and masquerade are examined and presented as inseparable from the quest to self-discovery.Finally, Chapter 4 pays attention to both artists’ “mirrors of relation” and “relation to mirrors”. On the one hand, this analysis addresses the creative friendship that unites both artists in their work, more specifically in their written expression, and the mechanisms of fictionalization pertaining to it. The mirror effects that are at play in the images of both artists who created fourhanded works and the pictorial motif of the mirror are also focused on in this research. Indeed, the mirror may be considered as an emblem of Remedios Varo’s and Leonora Carrington’s creative approach, not only as a specular tool but also and more importantly, as an object of symbolism and magic
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Trennheuser, (geb Schacht) Sophie Anabel Leonora [Verfasser]. "Laser induzierte Geweberemodellierung des Trommelfells / Sophie Anabel Leonora Trennheuser (geb. Schacht)." Saarbrücken : Saarländische Universitäts- und Landesbibliothek, 2020. http://d-nb.info/1238074146/34.
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Mackaya, Tahnee. "Le Discours des "sans voix"chez Ananda Devi et Leonora Miano." Thesis, Cergy-Pontoise, 2016. http://www.theses.fr/2016CERG0848.
Full textAbstract:
Les romans d’ Anada Devi et ceux de Léonora Miano sont peuplés de « sans-voix », une autre façon d'évoquer les nombreux invisibles de nos sociétés contemporaines. Handicapés physiques ou mentales, immigrés, ex colonisés, exilés, personnes en précarité sociale et économique, migrants, enfants de la rue, enfants de la guerre, tels sont les visages muets du XXI siècle. Mis au bas, ils sont souvent perçus comme des menaces à l'ordre établi et sont souvent contraints au silence. Par les arts dont la littérature, les deux écrivaines leur inventent un langage producteur d’un contre discours. Peu à peu, par les mots et les silences, les invisibles se fraient un chemin pour dire une identité autre, ouverte et non protectionniste. Si chez Devi, la tradition et le pouvoir masculin annihilent et soumettent des individus dits "Shehtan", "anormaux" parce que différents des canons officiels (beauté, apparence, logique, caste, genre) , chez Miano c'est le choc culturel entre l'Occident et l'Afrique qui a laissé des traces indélébiles sur la psyché et l'identité africaine. Sans les figer dans la douleur de l'oppression, les deux écrivaines francophone, leur rendent leur histoire et leur mémoire. Ainsi, qu'il s'agisse de dé-ponctuation, de diglossie, d'hybridité genrologique ou linguistique, de duplicité narratives, d'effets de styles, de la pensée ou de la communication, les formes littéraires travaillent à inventer d’autres identités. . L'Afropéanisme et l'humanimalité sont ainsi frère et soeur d'une même vision du monde apte à construire un inter espace de dialogue apaisé. . Les identités que décrivent et réenchantent les deux auteures sont celles de l’entre deux qui permet d'accueillir toutes les singularité La posture littéraire devient politique pour lutter contre les discriminations et les inégalités afin d’ "habiter poétiquement le monde"The novels of Anada Devi and the Leonora Miano are full of "voiceless", another way of talking about the many invisible in contemporary societies. physical or mental disabilities, immigrants, ex colonized exiles, people in social and economic insecurity, migrants, street children, children of war, are the silent faces of the XXI century. Placed at the bottom, they are often perceived as threats to the established order and are often silenced. The arts including literature, both writers invent their language a producer against a speech. Gradually, with the words and the silente, invisible make their way to tell an another identity Open and not protectionist. If at Devi, tradition and masculine power and annihilate submit individuals called "Shehtan", "abnormal" because different official canons (beauty, appearance, logic, caste, gender), in Miano is the cultural clash and West Africa that has left an indelible mark on the psyche and the African identity. No freeze in the pain of oppression, both francophone writers, make their history and memory. So be it de-punctuation, diglossia of genrologique or linguistic hybridity, narrative duplicity, effects of styles, thinking or communication, literary forms working to invent other identities. . The Afropéanisme and humanimalité are brother and sister and the same worldview able to construct an inter space of peaceful dialogue. . Identities that describe and re-enchant the two authors are those between the two that can accommodate all literary singularity posture becomes policy to fight against discrimination and inequality in order to "dwell poetically the world"
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Fox, Stacey Jade. "The idea of madness in Dorothy Richardson, Leonora Carrington and Anais Nin." University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0194.
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Salmerón, Cabañas Julia. ""Errant in time and space" : a reading of Leonora Carrington's major literary works." Thesis, University of Hull, 1997. http://hydra.hull.ac.uk/resources/hull:11073.
Full textAbstract:
Part One deals with Carrington's association with the Surrealist movement and looks at her texts as dreams/nightmares. Born in 1917, Carrington arrived in Paris just before her twentieth birthday. The opening chapter deals chiefly with biographical material and creates a context for Carrington's writing within the Surrealist movement. Chapters Two and Three explore Carrington's main stories of this period, examining the stylistic devices that make them dream-texts. Part Two deals with the major crisis in Carrington's life and writing: her internment in a Spanish asylum. Chapter Four looks at the biographical events that led Carrington to be interned and suggests that her father and his associations with Imperial Chemical Industries had more to do with her internment than is commonly believed (Appendix I includes a transcript of my interview with her Spanish doctor and testifies to contacts with ICI). Chapter Five analyses the "mad" narrative "Down Below", where the repression of Carrington's "playing with language" is exposed through an impressive imagery of death. Chapter Six explores the stories written in New York immediately after release: "Cast Down By Sadness", "White Rabbits", "Waiting", "The Seventh Horse" and "As They Rode Along the Edge". The grotesque female bodies and the pervasiveness of the monstrous distinguish these stories as Carrington's chaotic, "creative" resurrection. Finally Part Three looks at Carrington's Mexican period, where her writing achieves a voice that, although resonant of previous moments, stops being tragic and becomes revolutionarily comic. Chapter Seven follows Carrington's life in Mexico, where she still lives, from 1942 to the present. Chapter Eight deals with four of her best Mexican writings: the novel The Stone Door, the play The Invention of the Mole, the short story "The Happy Corpse Story" and an unpublished letter to Remedios Varo (1958) included in Appendix II. Finally Chapter Nine deals at length with The Hearing Trumpet.
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Rehberg, Gerlinde. "Treacherous mirrors and the quest for the self in the work of Leonora Carrington." Thesis, University of East Anglia, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300489.
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Turner, M. K., of Western Sydney Nepean University, and School of Contemporary Arts. "Representation and womens art." THESIS_XXX_CAR_Turner_M.xml, 1998. http://handle.uws.edu.au:8081/1959.7/732.
Full textAbstract:
The thesis contains a discussion of surrealism and the work of Meret Oppenheim and Leonora Carrington. In the thesis I also distinguish three groups of paintings in essays and describe my work and the way in which theory and practice have recommended one another. 'Salience and Surrealism' discusses how the features of collaboration, play and partnership involve women artists within the surrealist movement, and how their ideas of the feminine principle evolve and change. I also discuss the changing attitudes to imagination, creative inspiration and activity, and the understanding brought about by the meeting between surrealism and psychology. The salience of surrealism as an introverted urge and instinct toward individuation, is suggested by Kenneth Wack 'as the source of surrealism's most abiding success.' The contemporary use of salience applies to features, characteristics, and from architecture as protrusions or fortifications. The dictionary definition begins with extroverted examples like dancig, leaping about and jetting forth. The archaic meaning is origin or first beginning, hence in old medicine salience applies to the heart when it first shows in the embryo. In salience the anagram of, a silence, gave heed to the atmosphere of silence from creativity and in paintings. A silence, also corresponds with the middle part of Meret Oppenheim's life when she experienced an artisitc crisis and depression. This essay looks back fifty years of self-expression from this artist and finds prominent features to suggest the essential dichotomies which mark the artwork. Meret Oppenheim's ouevre includes painting, sculpture, poetry, books, and theatre costume and apparal. Her multiple talents in the arts and literature are like those of Leonora Carrington who has published several books and plays, in the visual arts she sculpted and painted. The salience of their creative and intellectual endeavours found realisation in the wisdom of the feminine, of animal spirits and of natural worlds. The principles of alchemy also inspired and informed their attitudes to creativity which emerges from the unification of opposites. Both artists called for a new alliance between male and female principles, and evolve concepts of androgyny, which for them lift creation to higher levels. These women as artists found a field of the arts that furnished them with both physical life and spiritual lifeMaster of Arts (Hons)
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Zange, Leonora [Verfasser]. "Phosphoryliertes α-Synuclein als diagnostischer Marker für eine dermale sympathische Neurodegeneration bei Lewy body-Erkrankungen / Leonora Zange." Berlin : Medizinische Fakultät Charité - Universitätsmedizin Berlin, 2014. http://d-nb.info/1062949064/34.
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Salazar, Gómez Viridiana. "Tesis: El surrealismo en México a través de la obra Las distracciones de Dagoberto de Leonora Carrington." Tesis de Licenciatura, UNIVERSIDAD AUTÓNOMA DEL ESTADO DE MÉXICO, 2017. http://hdl.handle.net/20.500.11799/67037.
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Carroll, Rachel Louise. "The return to the body in the work of Sylvia Plath, Angela Carter, Leonora Carrington, and Flannery O'Connor." Thesis, University of Newcastle Upon Tyne, 1996. http://hdl.handle.net/10443/299.
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This thesis examines the role of the body in Sylvia Plath's The Bell Jar (1963), Angela Carter's Nights at the Circus (1985), Leonora Carrington's fiction of 1937-41, and Flannery O'Connor's fiction of 1949-65. Critical emphasis is placed upon ambivalent and paradoxical representations of the body and on the significance of the body as a site of crises in identity and memory. The implications of the problematic status of the body are addressed through a theoretical framework, informed by French feminist thought, which attempts to articulate an exchange between subjectivity and politics, psychoanalysis and history. Part I introduces the 'return to the body' as a critical inquiry which investigates the conjunction of femininity and materiality and the role of the body in the construction of sexual difference. It is proposed that in Plath's The Bell Jar the body is the site of an impasse of identity and memory; this impasse is contested by Carter's novel and interrogated in the narratives of Carrington and O'Connor. Part II demonstrates the subversive and utopian effect to which Carter employs the paradoxical body in Nights at the Circus. As a site of unresolved contradictions, the ambivalent body invokes transformations in identity and anticipates revolutions in history. Part III explores the 'savage' state of symbolic dereliction suggested by the place of feral women in Carrington's Surrealist myths of origin. It also proposes that a founding violence is discovered by Carrington in the construction of woman' as spectacle and femininity as masquerade. Part IV proposes that the irrational forces of history are registered in traumatic form in the grotesque bodies of O'Connor's narratives. It also addresses a politics of origin which implicates women, as agents and victims, in the violence of an oppressive social order.
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Vodermayer, Sohl Melinda Anna. "Claves de representación corporal en las poéticas de las pintoras surrealistas: Frida Khalo, Leonora Carrington y Remedios Varo." Doctoral thesis, Universitat Politècnica de València, 2012. http://hdl.handle.net/10251/17798.
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El objetivo de la presente tesis es analizar la producción simbólica, en relación al cuerpo, de artistas surrealistas que desarrollaron sus poéticas en el contexto mexicano: Frida Kahlo, Leonora Carrington y Remedios Varo.
El primer apartado comienza explorando la génesis europea del estilo y analizando el surrealismo como un movimiento cultural en el sentido amplio del término.
El segundo, describe aspectos propios del despliegue surrealista en México y el trasfondo artístico autóctono en el que poseyó un papel como comunicador de valores pictóricos que se fundieron con la plástica artística mexicana produciendo una fecunda hibridación. La combinación generó obras singulares en el tejido socio-cultural del país.
El tercer apartado, fundamentado en una perspectiva feminista como punto de partida, aunque superando y aunando determinados aspectos de la concepción de géneros en el plano humano, se centra en las diferencias encontradas entre la teoría patriarcal subyacente en el surrealismo ortodoxo y el enfoque autobiográfico sostenido por las mujeres artistas seleccionadas para el estudio.
Los apartados cuarto, quinto y sexto tratan de analizar aspectos propios de la producción de cada una de las tres artistas, que aportan determinados valores específicos compartidos en clave de representación simbólica.
En resumen, se plantea que estas pintoras, vinculadas con México, son participantes atípicas del surrealismo y la raíz de la diferencia reside de manera esencial en el hecho de contribuir con una visión reivindicativa del universo femenino en el arte principalmente entre las décadas de 1930 al 1950.Vodermayer Sohl, MA. (2012). Claves de representación corporal en las poéticas de las pintoras surrealistas: Frida Khalo, Leonora Carrington y Remedios Varo [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/17798
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Turner, M. K. "Representation and womens art." Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/732.
Full textAbstract:
The thesis contains a discussion of surrealism and the work of Meret Oppenheim and Leonora Carrington. In the thesis I also distinguish three groups of paintings in essays and describe my work and the way in which theory and practice have recommended one another. 'Salience and Surrealism' discusses how the features of collaboration, play and partnership involve women artists within the surrealist movement, and how their ideas of the feminine principle evolve and change. I also discuss the changing attitudes to imagination, creative inspiration and activity, and the understanding brought about by the meeting between surrealism and psychology. The salience of surrealism as an introverted urge and instinct toward individuation, is suggested by Kenneth Wack 'as the source of surrealism's most abiding success.' The contemporary use of salience applies to features, characteristics, and from architecture as protrusions or fortifications. The dictionary definition begins with extroverted examples like dancig, leaping about and jetting forth. The archaic meaning is origin or first beginning, hence in old medicine salience applies to the heart when it first shows in the embryo. In salience the anagram of, a silence, gave heed to the atmosphere of silence from creativity and in paintings. A silence, also corresponds with the middle part of Meret Oppenheim's life when she experienced an artisitc crisis and depression. This essay looks back fifty years of self-expression from this artist and finds prominent features to suggest the essential dichotomies which mark the artwork. Meret Oppenheim's ouevre includes painting, sculpture, poetry, books, and theatre costume and apparal. Her multiple talents in the arts and literature are like those of Leonora Carrington who has published several books and plays, in the visual arts she sculpted and painted. The salience of their creative and intellectual endeavours found realisation in the wisdom of the feminine, of animal spirits and of natural worlds. The principles of alchemy also inspired and informed their attitudes to creativity which emerges from the unification of opposites. Both artists called for a new alliance between male and female principles, and evolve concepts of androgyny, which for them lift creation to higher levels. These women as artists found a field of the arts that furnished them with both physical life and spiritual life
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Zipplies, Theresa Leonora [Verfasser], and Jürgen [Gutachter] Groll. "Fluoreszenzmarkierte Nanogele auf Poly(glycidol)-Basis - Herstellung, Charakterisierung und deren Interaktion in vitro / Theresa Leonora Zipplies ; Gutachter: Jürgen Groll." Würzburg : Universität Würzburg, 2018. http://d-nb.info/1160877270/34.
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Lusty, Natalya. "Surrealism, feminism and psychoanalysis : the crisis of representation in the work of Leonora Carrington, Claude Cahun and Cindy Sherman." Thesis, The University of Sydney, 2001. http://hdl.handle.net/2123/1685.
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Deffebach, Nancy. "Images of plants in the art of María Izquierdo, Frida Kahlo, and Leonora Carrington : gender, identity, and spirituality in the context of modern Mexico /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Plunkett, Tara Emma. "Self and desire : surrealism in the images and texts of Federico García Lorca, Rafael Alberti, Remedios Varo and Leonora Carrington." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602786.
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This study examines images and texts by Federico Garcia Lorca, Rafael Alberti, Remedios Varo and Leonora Carrington, which demonstrate an attempt at self-fashioning or selfdefinition, within a Surrealist aesthetic. Given Andre Breton's belief that through his desire for woman he could tap into his creative subconscious, this discussion asks to what extent the artists' endeavours were tempered or mediated by desire. Via a close reading of images and texts created by a collection of artists and poets chosen for the synthesis of their artistic vision, this study aims to demonstrate how Surrealism lends itself to the articulation of complex identity questions. The inclusion of painters and poets, both male and female, allows for an interrogation of the implications of gender and genre in their work. The artworks studied demonstrate that, despite the slight difference in era between Lorca and Alberti, and Varo and Carrington, they all use the malleability of Surrealism, by means of imagery of metamorphosis, decomposition and obfuscation, in works which question subjectivity and articulate a search for the self. The artists' articulations of desire which range from Remedios Varo's subtle imagery of inhuman bodies intertwining to Rafael Alberti's violent images of mortification to repress forbidden impulses form an important part of their coming of age in a Surrealist aesthetic but do not, as Breton conceived of it, act as a medium to uncover a greater truth. This study will show that united in their marginal association to the Surrealist movement, Lorca, Alberti, Varo and Carrington, all created works which demonstrate a sense of tension between two opposing states, such as subject and object, male and female, and life
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Gutierrez, Menez Evangelina. ""No se nace mujer, la mujer se hace:" la autoconstrucción del personaje principal en la novela Leonora de Elena Poniatowska." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-43025.
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The novel Leonora by Elena Poniatowska is about Leonora Carrington who was born into a wealthy family and challenged family traditions, and those expectations imposed by her social background and her gender. It will be shown that the main character acts according to a self-construction process free of social impositions. Simone de Beauvoir’s well-known phrase “one is not born a woman, one becomes one”, is one of the feminist positions that contributes to this analysis, as well as the literary techniques explained by Gérard Genette, Oscar Tacca, Mieke Bal and the narratology theories of focalization, direct speech, indirect speech and free indirect speech. The aim of this essay is to analyze the literary techniques that present the self-construction of the main character, and their effects on the reader. The hypotheses of this essay are that in order to present the self-construction of the character, the literary techniques create an effect of alternately zooming the reader in to the main character’s experience, and zooming out to a more objective view. In addition, the literary techniques used to present Carrington’s self-construction seek to show her feminist stance and her transgressions in both private and public spheres. Poniatowska’s literary techniques deliver the message that when a woman is released from social and cultural constraints she has the power to modify spheres.
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Bisson-Fradet, Rachel. "Dialogues entre les genres, les voix et les arts : l'écriture fictionnelle d'Elena Poniatowska (Querido Diego, te abraza Quiela ; Tinisima ; Leonora)." Thesis, Normandie, 2019. http://www.theses.fr/2019NORMR114.
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À partir d’un corpus constitué de trois romans d’Elena Poniatowska, Querido Diego, te abraza Quiela (1978), Tinísima (1992), Leonora (2011), nous explorons les caractéristiques significatives de l’écriture fictionnelle poniatowskienne qui met la femme au centre de son univers narratif. Notre étude met en relief l’hybridité générique de ces trois ouvrages à partir de l’étude du livre-objet, puis de l’analyse des seuils. Nous montrons que l’auteure recrée la vie et l’oeuvre de trois artistes étrangères exilées au Mexique dans un espace textuel où s’entremêlent réalité historique et fiction romanesque. Dans un deuxième temps, nous explorons la fabrique du texte poniatowskien à travers les procédés scripturaux basés sur le collage de fragments de discours hétérogènes. Nous soulignons l’originalité d’une écriture qui, à la manière d’une mosaïque, imbrique les écrits des protagonistes, des extraits des propres oeuvres de l’auteure et de celles d’autres écrivains, auxquels s’ajoutent des références intermédiales qui transforment l’acte de lecture en exploration des relations entre différents médiums. Par ailleurs, l’approche résolument polyphonique des romans engage un dialogue entre les voix et les textes, offrant un regard global sur la femme artiste au XXème siècle. Enfin, la troisième partie s’attache à mettre en évidence la fabrique des personnages féminins. Les romans ancrent les trajectoires et les choix des trois femmes dans une société androcentrée tout en mettant en évidence l’incidence des personnages masculins dans leur construction transgressive. Les textes (re)présentent des regards sur les milieux traditionnellement hostiles à la femme et sur les parcours de sujets exceptionnels dans l’histoire artistique mexicaineFrom a corpus composed of three novels by Elena Poniatowska, Querido Diego, te abraza Quiela (1978), Tinísima (1992), Leonora (2011), we are exploring the main characteristics of Poniatowskia’s fiction writing that puts women at the centre of her narrative world. Our study highlights the generic hybridity of these three works from the study of the book as an object, and then from the analysis of thresholds. We are showing that the writer recreates the lives and works of three foreign artists exiled in Mexico, in a text space where historical reality and novelistic fiction entangle. Then in a second time, we are exploring Poniatowska’s making of the text through the writing process based on sticking heterogeneous pieces of speech together. We are emphasizing the originality of her writing, for in the way of a mosaic, she links the protagonists’ writings, some excerpts from the author’s own works and from other writers, as well as intermedial references, that transforms the act of reading into an act of exploring relationships between different media. Besides, the resolutely polyphonic approach of the novels starts a dialogue between the voices and the texts, showing a global view on women artists in the 20th century. Finally, the third part aims at underlining the making of the female characters. The novels root the three women’s paths and choices in an androcentric society, and at the same time highlight the effects of the male characters on their transgressive developments. The texts (re)present views on traditionally hostile circles to women, and on the journeys of exceptional individuals in Mexico’s artistic history
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Turner, M. K. "Representation and womens art." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030916.113709/index.html.
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Ferentinou, Victoria. "Women Surrealists and hermetic imagery : androgyny and the feminine principle in the work of Ithell Colquhoun, Leonora Carrington and Remedios Varo." Thesis, University of Essex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442510.
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This thesis focuses on the use of hermetic imagery in the work of three women artists associated with the Surrealist movement and whose pictorial/verbal vocabularies were influenced by the occult, namely Ithell Colquhoun, Leonora Carrington and Remedios '" V aro. In particular, two hermetic concepts, treated as case studies, are discussed: androgyny and the feminine principle. The examination concentrates on the work of these women but also brings into the discussion the meaning/s of the two ideas in the original sources as well as in Surrealism, since the three artists drew upon the occult but were also aware of the Surrealist discourse and by extension the Surrealist employment of the occult. This study cannot be exhaustive within the limits of a thesis. The primary objective is to establish with clarity the appropriation of androgyny and the sacred female in the oeuvre of the three artists and explore whether the significance they ascribed to these notions corroborates, contradicts or qualifies the pre-existent hermetic and Surrealist versions, thus uncovering their feminist intent. In the first part I provide the historical background of Surrealism's mounting interest in hermetic language, which was appropriated for the fabrication of a modem myth especially from the 1930s onward, and I also present the problematic position of women artists within the movement and the subsequent development of their personal mythologies that exhibit a twofold feminist/hermetic character. The next two parts centre on the two selected motifs and attempt to sketch out their conception and representation in hermeticism and in Surrealism and then to elaborate on their employment in the work of the three female Surrealists. The thesis intends to shed light on female mythmaking by Surrealist women and on the role of hermetic iconography in this process, and contributes to an elucidation of the imagery they formulated, by examining paintings and writings, several of which were hitherto rarely or partially discussed. Ab ~
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Blancard, Marie. "Les spectacles intérieurs de Leonora Carrington, Frida Kahlo, Gisèle Prassinos, Dorothea Tanning et Unica Zürn. : Dialogue entre écriture et arts plastiques." Cergy-Pontoise, 2006. http://biblioweb.u-cergy.fr/theses/06CERG0296.pdf.
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Cette thèse se propose d’étudier les imaginaires créatifs de cinq artistes du XXe siècle liés au mouvement surréaliste : Leonora Carrington, Frida Kahlo, Gisèle Prassinos, Dorothea Tanning et Unica Zürn. En se centrant sur leur double pratique, littéraire et plastique, notre étude vise à circonscrire l’originalité de leurs « spectacles intérieurs ». Axées autour de l’auto-représentation, leurs œuvres interrogent la question du reflet, de l’identité et de l’appartenance à un genre. En s’imprégnant de codes et de modèles traditionnels – ou convenus – ces artistes soulignent leurs difficultés à se positionner dans un monde encore très dominé par une pensée patriarcaleThis dissertation intends to study the creative imaginative worlds of five twentieth-century artists linked to the Surrealist movement : Leonora Carrington, Frida Kahlo, Gisèle Prassions, Dorothea Tanning and Unica Zürn namely. By focalizing on their double practice, i. E. Their literary and visual art practice, our study aims to define the originality of their “inscapes”. Their works, which are focused on self-representation, question the notions of reflection and identity and the fact of belonging to a particular gender. Deeply influenced by traditional or conventional codes and models, these artists emphasize the difficulties to define one’s position in a world still largely dominated by patriarchal discourses
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Blancard, Marie Achour Christiane. "Les spectacles intérieurs de Leonora Carrington, Frida Kahlo, Gisèle Prassinos, Dorothea Tanning et Unica Zürn. Dialogue entre écriture et arts plastiques /." [S.l.] : [s.n.], 2008. http://biblioweb.u-cergy.fr/theses/06CERG0296.pdf.
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Marquié, Hélène. "Métaphores surréalistes dans des imaginaires féminins : quêtes, seuils et suspensions : souffles du surréel au travers d'espaces picturaux et chorégraphiques : parcours dans les oeuvres de Leonora Carrington, Leonor Fini, Dorothea Tanning, Martha Graham, Doris Humphrey et Carolyn Carlson." Paris 8, 2000. http://www.theses.fr/2000PA081713.
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Le propos est de mettre en lumiere au travers des univers de trois femmes peintres proches du surrealisme leonora carrington, leonor fini, dorothea tanning -, et de trois choregraphes et danseuses contemporaines martha graham, doris humphrey, carolyn carlson -, des correlations en terme de processus et de dynamismes createurs, ainsi que de contenus. De relever des projets et des trajets paralleles ou convergents, dans la facon dont l'imaginaire se constitue et se realise. De reperer, dans la mise en oeuvre de principes similaires, les expressions differentes resultant de la specificite de chaque art, pictural ou choregraphique. Ces processus sont rapportes au surrealisme, non pas en tant que mouvement historique, mais en tant qu'esthetique et ethique, pensee dialectique qui refuse de separer le reel de l'imaginaire, la poetique de la politique. Deux perspectives servent a eclairer le champ etudie et a faire surgir des questionnements. Celle de la danse, qui definit une attitude esthetique et critique a partir du champ choregraphique, en termes de mouvements et de processus. Une perspective feministe qui tient compte de la specificite de l'experience creatrice des femmes au sein decadres referentiels et contextuels dont les structures appartiennent a un systeme qui organise des rapports de domination des hommes sur les femmes. Le surrealisme offre ici un champ specifique et paradoxal ou ces structures revetent une forme particuliere, les rapports restant fondamentalement inchanges. Il s'agit donc de questionner certains referents, et de voir de quelle facon ils sont mis enjeu, ou de-joues par les femmes artistes.
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Herrera, Adriana. "Ficción Extrema: Deslizamientos en la Realidad a Través de la Relación Entre Arte y Literatura (Max Aub, Leonora Carrington y Enrique Vila-Matas)." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1741.
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Si el siglo XX creó una extendida conciencia sobre las variantes de la intertextualidad en la ficción literaria, hoy enfrentamos transformaciones en la naturaleza de la ficción y sus relaciones con otras formas discursivas y/o creativas como el arte, y con la misma realidad, que es posible designar con el concepto de ficción extrema. Desde “Don Quijote” o “Las meninas” hay incursiones en la metaficción y/o autorrefecividad. Pero a partir de las vanguardias modernistas y de modo creciente en los estertores de la postmodernidad nos abocamos a un singular tipo de hipertextualidad que desbordando lo literario se apropia de prácticas artísticas (o lo contrario) como recurso para la transposición de sus ficciones, no sólo de uno a otro campo, sino para su inserción en la realidad: la ficción extrema.
Max Aub (España 1903-México 1973), Leonora Carrington (Inglaterra 1917-México 2011) y Enrique Vila-Matas (España 1958), radicalizaron este tránsito o filtración de los imaginarios artísticos y literarios subvirtiendo las delimitaciones entre —pintor catalán Jusep Torres Campalans, junto con sus obras pictóricas, creadas como sombra o doble de Picasso. Así insertó su existencia en ciertos dominios del cubismo como un modo de meta-crítica artística. Carrington asumió un doble animal que transitó entre cuentos y cuadros y se inscribió en la memoria del surrealismo. Vila-Matas narró su “Historia abreviada de la literatura portátil” como un doble del espectro Marcel Duchamp —a su vez asaltado por otros— que reescribe la memoria del dadaísmo de tal modo que ha llegado a ser confundida con un ensayo. La revisión de las estrategias de la ficción extrema en estos autores junto con las de otros contemplados en el epilogo —Mario Bellatín, y los artistas Liliana Porter, Luis Camnitzer, José Guillermo Castillo, Ana Tisconia, Rubén Torres Llorca y Carlos Amorales— arroja nueva luz sobre sus obras, enriquece los estudios transatlánticos y revela la movilidad y multiplicación de la identidad y los deslizamientos de la ficción en la realidad como signos de tránsito a la altermodernidad.
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Dudeque, Marcia Leonora. "Educação de jovens e adultos e formação de professores : estudo histórico sob o referencial de violência simbólica / Marcia Leonora Dudeque ; orientadora, Rosa Lydia Teixeira Corrêa." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2006. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=542.
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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2006Inclui bibliografia
O presente estudo faz uma reflexão histórica, referente à segunda metade do século XX, sobre os recorrentes déficits educacionais do ensino regular brasileiro. Outrossim, demonstra através de dados estatísticos mais recentes que inquestionáveis avanços ed
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Asif, Noor A. "Women Surrealists: Muses or Seekers?" Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/826.
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Surrealism has often been labeled as a misogynistic movement that sought to provide man with an avenue into a higher reality at the expense of the humanity of women. By perceiving the opposite sex as their muses, Surrealist men rendered women as mysterious sources of the marvelous, the name given to the higher realm, which they desired to attain. I propose that Surrealist women were empowered by the fact that ‘woman’, as an abstract concept, and femininity were synonymous with the marvelous. This entailed that Surrealist women had the advantage of being “sources of revelation, as provokers of wonder, dreams, and freedom,” whose intellectual agency allowed them to delve into their own femininity in order to attain the higher reality that Surrealism was devoted to unlocking. In contrast from Surrealist men who relied on the image of woman to lead them to this superior realm, Surrealist women were able to look within themselves in order to comprehend the marvelous. Conversely, Surrealist women often reversed the idea of the muse, by exploring their feminine unconscious through the objectification of men.
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Morina, Leonora [Verfasser], and Dines [Akademischer Betreuer] Christen. "Mikrowellen-Mikrowellen Doppelresonanzspektroskopie von Glykol und Aceton (HOCH2CH2OH und CH3COCH3) in deren ersten angeregten Torsionszuständen und das Rotationsspektrum von 1,2,3-Triazin (C3H3N3) / Leonora Morina ; Betreuer: Dines Christen." Tübingen : Universitätsbibliothek Tübingen, 2019. http://d-nb.info/1205002219/34.
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Cross, Martyn. "Occupational respiratory health surveillance at Minara Resources, Murrin Murrin mine site." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/418.
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This thesis outlines the results of occupational respiratory health surveillance at Minara Resources, Murrin Murrin mine site. The research was conducted as part of a collaborative agreement between Edith Cowan University and Minara Resources, the overarching title of which was ‗Establishing best practice protocols in the management of occupational and environmental health in a high-risk mining and ore-processing environment‘. To form the basis of this research it was hypothesised that although the chemical hazards had been adequately identified, and the occupational exposures in each work area at Murrin Murrin were generally well below their respective occupational exposure levels, it was still possible that additive, or even synergistic biological effects could cause adverse respiratory health effects due to the exposure to a combination of these atmospheric contaminants. This was the perception and a concern voiced by the Murrin Murrin workforce. Therefore, in working through the hypothesis, a literature review concentrating on the gaps in current knowledge and research for the early detection of occupational respiratory diseases was conducted, and the research tool and experiment design determined. The case for using pulmonary function tests in conjunction with a respiratory questionnaire in assessing early respiratory changes due to occupational exposures was established. Over a period between 17 February 2004 and 21 June 2006, a longitudinal study was conducted to ascertain the prevalence of respiratory symptoms and lung function of employees at the Murrin Murrin Operation, and compared with a local control group consisting of catering staff who resided at the accommodation camp approximately eight kilometres from the mine site. Lung function data were also compared to established predicted normal values from a reference population with normal lung function. Lung function data were analysed to determine whether there was an effect due to the area worked, and the employee‘s length of service. The lung function parameters of the study group, corrected for age and height were compared using linear regression analysis with both the control group and the predicted normal values. Repeat lung function tests were conducted on a sample of the original study group approximately two years after the initial study and statistically analysed to determine whether there was an effect on lung function over this time period. In addition, lung function tests were conducted for a cohort of refinery workers at the start and end of their two-week work period to determine whether there was a before-and-after effect due to their working conditions. The prevalence of respiratory symptoms was less in the study group compared to the controls; and these respiratory symptoms were determined to be non-work-related. On statistical analysis, for the ‗presumed healthy‘ workers (minus the smokers and those with known non-work-related respiratory symptoms) there was no overall decrement in lung function. Similarly, there was no overall statistically significant decrement in lung function for the ‗presumed healthy‘ workers in the repeat study conducted approximately two years after the initial study. There was no decrement in lung function associated with area work; nor was there a decrement in lung function for the cohort of refinery workers from the start to completion of their two-week work period. However, there were decrements in lung function for the smokers in the study and control groups. There was a significant difference in FEV1 between non-smokers and smokers with length of service (p
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Brunie, Leonora Verfasser], Ute [Akademischer Betreuer] Reuning, Ernst J. [Akademischer Betreuer] Rummeny, and Barbara [Akademischer Betreuer] [Schmalfeldt. "Generation of integrin αvβ3 cytoplasmic and transmembrane domain mutants: characterisation of the impact of integrin conformation on human ovarian cancer cell proliferation / Leonora Brunie. Gutachter: Ute Reuning ; Ernst J. Rummeny ; Barbara Schmalfeldt. Betreuer: Ute Reuning." München : Universitätsbibliothek der TU München, 2012. http://d-nb.info/1031513906/34.
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Link, Leonora Maria [Verfasser], and Stefan [Akademischer Betreuer] Wirth. "Eine Übersicht zu nicht-knöchernen Verletzungsfolgen nach Schädel-Hirn-Trauma mit einer retrospektiven Single-Center-Studie zur Abschätzung des Einflusses gerinnungshemmender Vor-Medikation am Beispiel des Klinikums der Universität München / Leonora Maria Link ; Betreuer: Stefan Wirth." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2019. http://d-nb.info/1190033038/34.
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Herbst, Leonore [Verfasser]. "Staatensukzession und Staatsservituten. / Leonore Herbst." Berlin : Duncker & Humblot, 2019. http://d-nb.info/1237892864/34.
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Růžičková, Michaela. "Leonard Bernstein: MASS." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-253942.
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This thesis analyzes in detail the work of Leonard Bernstein: MASS. The analysis covers both the theoretical and formal point of view as well as the interpretation issues, while focusing specifically on the issue of interpreting the multi-genre musical work and its definition.
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Léonard-Fortuné, Danielle. "Conditions de compatibilité en mécanique des solides : Méthode de Darboux." Poitiers, 2008. http://theses.edel.univ-poitiers.fr/theses/2008/Leonard-Fortune-Danielle/2008-Leonard-Fortune-Danielle-These.pdf.
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Le fil conducteur est celui des conditions de compatibilité des systèmes aux dérivées partielles de la Mécanique des Solides Déformables. L’idée initiale, présentée dans l’ouvrage de Gaston Darboux sur la théorie générale des surfaces, est reprise. Elle consiste à remplacer les symboles de Christoffel par des vecteurs appelés vecteurs de Darboux. Ces vecteurs sont associés à des rotations de la même manière qu’un vecteur rotation instantanée est mis en évidence lors de l’étude du mouvement d’un solide rigide. Les conditions de compatibilité en grandes déformations sont ainsi revisitées à la Darboux. Deux systèmes aux dérivées partielles découplés permettent d’obtenir le déplacement du milieu déformé en deux intégrations successives. L’étude de la nature tensorielle des objets exhibés montre la validité de nos concepts. Une étude inédite des variétés riemanniennes de dimension 3 de même courbure que la sphère est développée. De même, la théorie des surfaces est revue en introduisant les vecteurs de Darboux. La reconstruction d’une surface connaissant ses deux formes fondamentales est proposée conformément au théorème de Bonnet. L’étude particulière d’une surface minimale conduit à un processus de construction effectif à partir de la connaissance du bord. La notion de surface minimale soeur est dégagée, deux exemples sont présentés. Enfin l’équivalence entre l’annulation du tenseur de courbure de Riemann-Christoffel dans une coque et les conditions de Gauss-Codazzi-Mainardi sur sa surface moyenne est établie. Des perspectives, regardant le solide rigide comme une variété riemannienne de dimension 6, sont évoquéesThe compatibility conditions, associated with partial differential equation of deformable bodies, are used as a guideline of the present work. The basic idea, first presented by Darboux in the context of the general theory of surfaces, consists in replacing the Christoffel symbols by vectors called the Darboux vectors. These vectors are related to rotations in a similar way as the instantaneous rotation vectors in rigid body dynamics. The compatibility conditions are revisited here in the framework of large strain. Two systems of decoupled partial differential equation allow to obtain the displacement of the deformed body by successive integrations. Our results show the validity of the developed tools. An original investigation of threedimensional Riemann manifolds, with the same curvature as a sphere, is carried out. The theory of surfaces is also studied by introducing the Darboux vectors. A surface is rebuilt from his two fundamental forms in accordance with the Bonnet theorem. The particular study of a minimal surface leads to an efficient building process from the knowledge of the boundary. A new concept, called sister minimal surface, is introduced and its application is developed in the case of two examples. Finally the equivalence between the cancellation of the Riemann-Christoffel curvature tensor in a shell and the Gauss-Codazzi-Mainardi conditions on its mean surface is established. Further developments of the present work would be concerned with the rigid body, treated as a six-dimensional Riemann manifold
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Broekveldt, Leonard Pieter. "Derdenbeslag /door Leonard Pieter Broekveldt." Deventer : Kluwer, 2003. http://www.gbv.de/dms/spk/sbb/recht/toc/371237858.pdf.
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Li, Boting, and 李博婷. "Leonard Woolf: towards a literarybiography." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45697735.
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Spiewak, Jonathan. "Leonard Systems and their Friends." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6145.
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Let $V$ be a finite-dimensional vector space over a field $\mathbb{K}$, and let
\text{End}$(V)$ be the set of all $\mathbb{K}$-linear transformations from $V$ to $V$.
A {\em Leonard system} on $V$ is a sequence
\[(\A ;\B; \lbrace E_i\rbrace_{i=0}^d; \lbrace E^*_i\rbrace_{i=0}^d),\]
where
$\A$ and $\B $ are multiplicity-free elements of \text{End}$(V)$;
$\lbrace E_i\rbrace_{i=0}^d$ and $\lbrace E^*_i\rbrace_{i=0}^d$
are orderings of the primitive idempotents of $\A $ and $\B$, respectively; and
for $0\leq i, j\leq d$, the expressions $E_i\B E_j$ and $E^*_i\A E^*_j$ are zero when $\vert i-j\vert > 1$ and
nonzero when $\vert i-j \vert = 1$.
%
Leonard systems arise in connection with orthogonal polynomials, representations of many nice algebras, and the study of some highly regular combinatorial objects. We shall use the construction of Leonard pairs of classical type from finite-dimensional modules of $\mathit{sl}_2$ and the construction of Leonard pairs of basic type from finite-dimensional modules of $U_q(\mathit{sl}_2)$.
Suppose $\Phi:=(\A ;\B; \lbrace E_i\rbrace_{i=0}^d; \lbrace E^*_i\rbrace_{i=0}^d)$ is a Leonard system.
For $0 \leq i \leq d$, let
\[
U_i = (E^*_0V+E^*_1V+\cdots + E^*_iV)\cap
(E_iV+E_{i+1}V+\cdots + E_dV).
\]
Then $U_0$, $U_1$, \ldots, $U_d$ is the {\em split decomposition of $V$ for $\Phi$}.
%
The split decomposition of $V$ for $\Phi$ gives rise to canonical matrix representations of $\A$ and $\B$ in terms of useful parameters for the Leonard system. %These canonical matrix representations for $\A$, $\B$ are respectively lower bidiagonal and upper bidiagonal.
In this thesis, we consider when certain Leonard systems share a split decomposition.
We say that Leonard systems
$\Phi:=(\A ;\B; \lbrace E_i\rbrace_{i=0}^d; \lbrace E^*_i\rbrace_{i=0}^d)$
and
$\hat{\Phi}:=(\hat{\A} ;\hat{\B}; \lbrace \hat{E}_i\rbrace_{i=0}^d; \lbrace \hat{E^*}_i\rbrace_{i=0}^d)$
are {\em friends} when $\A = \hat{\A}$ and $\Phi$, $\hat{\Phi}$ have the same split decomposition.
%
We obtain Leonard systems which share a split decomposition by constructing them from closely related module structures for either $\mathit{sl}_2$ or $U_q(\mathit{sl}_2)$ on $V$. We then describe friends by a parametric classification.
In this manner we describe all pairs of friends of classical and basic types.
In particular, friendship is not entirely a property of isomorphism classes.
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Moure, Zabiaguirre Francisco. "Colegio Público Leonaro da Vinci." Tesis, Universidad de Chile, 2004. http://www.repositorio.uchile.cl/handle/2250/100505.
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Para la generación del titulo, tenia una inquietud que pensaba
que como futuro arquitecto y como ciudadano la debía tomar, que
es una de las carencias que hay, la educación, que esta ves no es
solo una carencia de números, si no mas bien, de una respuesta
arquitectónica al problema. Al decir arquitectónica, me refiero a
tratar de dar una respuesta espacial propia del tema, y NO una
cuestión de metros cuadrados o cúbicos que establece la norma
como mínimo para acoger alumnos.
Esta inquietud sobre la educación la debería abordar como
el ultimo proyecto académico o como el primer proyecto profesional,
tengo la convicción que la segunda opción es la que a titulo
personal, contempla mayores desafíos y como egresado de la
Universidad de Chile, siento el deber y la responsabilidad de
asumirlos.
Al querer abordar el titulo como una posibilidad profesional,
debía encontrar la forma de producir la posibilidad de encargo.
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Boman, Dennis K. "The life of Abiel Leonard : eminent jurist and passionate unionist /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9924865.
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Hampe, Martínez Teodoro. "Leonard Irving, Books of the Brave." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/114293.
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Rüddenklau, Leonard-Roman [Verfasser]. "Prozessschutz und Wildnisentwicklung. / Leonard-Roman Rüddenklau." Berlin : Duncker & Humblot, 2021. http://d-nb.info/1238493068/34.
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Scheibler, Alexandra. ""Ich glaube an den Menschen" : Leonard Bernsteins religiöse Haltung im Spiegel seiner Werke /." Hildesheim ; Zürich ; New York : G. Olms, 2001. http://catalogue.bnf.fr/ark:/12148/cb37651955d.
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Chiari, Gisele Gemmi. "A estética romântica no teatro de Gonçalves Dias: Leonor de Mendonça." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-17092015-162217/.
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Os estudos sobre Leonor de Mendonça não são muito numerosos e geralmente se articulam a capítulos ou prefácios que versam sobre a produção dramática de Gonçalves Dias como um todo ou acerca do teatro romântico no Brasil. A presente tese se propõe a apresentar um estudo mais extenso e aprofundado da obra prima gonçalvina. A escolha dessa peça também se deveu ao célebre Prólogo que a antecede, pois ele discute aspectos importantes da estética romântica dialogando com as produções europeias e sobretudo com o Prefácio de Cromwell de Victor Hugo. O escopo deste trabalho é analisar o drama Leonor de Mendonça privilegiando o contexto de produção da obra do ponto de vista estético. Nesse sentido, o exame da peça abrangerá um estudo sobre os gêneros dramáticos em voga no período e a relação da obra gonçalvina com essas estéticas teatrais. A ideia é perceber como os elementos do drama burguês, do melodrama, do drama histórico e romântico bem como aspectos da literatura gótica estão imbricados no texto em questão. Além disso, a permanência de elementos clássicos e neoclássicos também será discutida ao longo dos capítulos do presente estudo. O intento desse exame é assinalar como a comunicação com esses gêneros contribui para o desenvolvimento do drama. Nesse exercício transparece de forma mais tangível o diálogo de Gonçalves Dias com Victor Hugo e também a interação com as tragédias de Schiller. Considerada um drama histórico, com efeito, a obra em questão se estrutura inter-relacionando características de diferentes gêneros. Mais do que o resultado de uma relação intergêneros, em Leonor de Mendonça as diversas experiências estéticas do autor foram subsumidas na composição conformando-se em um drama efetivamente romântico de enredo trágico e conteúdo crítico que ainda permanece atual. Este trabalho também compara a peça gonçalvina com dramas e tragédias brasileiros coetâneos a fim de demonstrar a singularidade da história da duquesa de Bragança nesse contexto em que a estética romântica no teatro ainda não fora totalmente compreendida ou admitida. De uma perspectiva mais ampla, pretende-se com a presente tese contribuir para o estudo do teatro de Gonçalves Dias e a pesquisa sobre o romantismo no Brasil.Studies about Leonor de Mendonça are not very numerous and they usually are articulated with chapters or prefaces that deal with the dramatic production of Gonçalves Dias as a whole or on the romantic theater in Brazil. This thesis aims to present a more extensive and detailed study of the Dias masterpiece. The choice of this play was also due to the famous Prologue that precedes it, as it discusses important aspects of romantic aesthetic and dialogue with European productions, especially with the Preface of Cromwell by Victor Hugo. The scope of this work is to analyze the drama Leonor de Mendonça focusing on the context of production from the aesthetic point of view. In this sense, the examination of the sample cover a study on the dramatic genres in vogue in the period and the relation of Gonçalves Dias work with these theatrical aesthetic. The idea is to understand how the elements of the bourgeois drama, melodrama, historical and romantic drama as well as aspects of gothic literature are embedded in the text in question. In addition, the permanence of classical and neoclassical elements will also be discussed throughout the chapters of this study. The intent of the review is to point out how communication with these genres contributes to development of the drama. In this exercise transpires more tangibly G. Dias dialogue with Victor Hugo as well as interaction with Schiller\'s tragedies. Considered a historical drama, in fact, the play is structured by interrelating characteristics of different genres. More than the result of an inter-gender relationship, Leonor de Mendonça shows that various aesthetic experiences of the author have been subsumed in the composition and conformed in a romantic drama of tragic plot and critical content that even now remains current. This paper also compares the play in question with contemporary Brazilian dramas and tragedies in order to demonstrate the uniqueness of the history of duchess of Bragança in this context which the romantic aesthetic in the theater was not yet fully understood or accepted. From a broader perspective, this thesis intends to contribute to the study of Gonçalves Dias theater and the research on romanticism in Brazil.
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Hahn, Kristin [Verfasser], Sigrid [Gutachter] Jacobeit, and Leonore [Gutachter] Scholze-Irrlitz. "Kleidung in der DDR. / Kristin Hahn ; Gutachter: Sigrid Jacobeit, Leonore Scholze-Irrlitz." Berlin : Humboldt-Universität zu Berlin, 2019. http://d-nb.info/1182541488/34.
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Moolman, Bilué Anton. "Winston Leonard Spencer Churchill: a psychobiographical study." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1009434.
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Psychobiography is a qualitative approach to exploring and understanding the life story of an individual through the lens of psychological theory. The application of theory is typically conducted on the finished lives of well-known or enigmatic people. This study explores and describes the psychological development across the lifespan of Winston Leonard Spencer Churchill, by applying the Individual Psychology of Alfred Adler. Winston Churchill voted the greatest Briton of the twentieth century, was an author, painter, adventure, soldier, politician and Prime Minister that led the United Kingdom during World War Two. Extensive data has been examined in this work to ensure an accurate description of Winston Churchill‘s life. Alexander‘s model of identifying salient themes was used to analyse the data within a conceptual framework derived from the theory. Churchill‘s difficult childhood motivated him to succeed, his passion for the nation of Britain and his dislike of the Nazi regime meant that Churchill was always abreast with current affairs, anticipating every possible scenario of attack. When the time came to fight the Nazi‘s Churchill was ready to die for his country. The research findings highlight Churchill‘s ability to rise above his childhood stigmas and surpass all expectations and so cementing his name into the history of a country he loved and a democratic world he hoped for. Alfred Adler‘s Individual Psychology proposes that an individual‘s potential weaknesses can be used as a means to strive and achieve greatness within their sphere of influence.
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Johansson, Anna. "Conceptual Metaphors in Lyrics by Leonard Cohen." Thesis, Umeå universitet, Institutionen för språkstudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-125400.
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The purpose of this study is to find and analyse conceptual metaphors in the lyrics, A Thousand Kissed Deep, Here It Is, and Boogie Street from the album Ten New Songs (2001) by Leonard Cohen using Conceptual Metaphor Theory (CMT). In order to detected the conceptual metaphors, the source and target domains were identified. Conceptual metaphors were found by mapping source domains onto target domains and viewing the lexical expressions in the lyrics. The result and analysis of the findings in this study show that linguistic expressions of LOVE, LIFE and DEATH are conceptually present in the lyrics.
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Lilja, Leonela. "Leonela, Sara, Natalee och de tre Mariorna." Thesis, Kungl. Konsthögskolan, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-98.
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1987 i Medellin, föder Maria ett barn, hon vill ge henne namnet Natalee, men efter att hon lämnat barnet till adoption ger någon annan henne istället namnet Leonela. Leonela bor 6 månader hos en fostermamma som också heter Maria, sedan adopteras hon till Sverige av Marie och Janne och får namnet Sara. Utan kronologi, blandas fragmenterade minnen och upplevelser. Essän ställer frågor så som vad namngivning gör med utformningen av ett jag och vad fysisk likhet spelar för roll i känslan av tillhörighet.
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Orazi, Françoise. "La pensée politique de Leonard Trelawny Hobhouse." Lyon 2, 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/orazi_f.
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L. T. Hobhouse (1864-1929), un des théoriciens majeurs du " nouveau libéralisme " anglais, a proposé un projet politique qui visait à établir la justice sociale. Se fondant sur une analyse sociologique de l'histoire et de la société, il a reformulé le libéralisme pour le définir comme un collectivisme coopératif. Grâce à un développement vers un stade rationnel, l'individu devait comprendre que son intérêt propre rejoignait le bien commun. Une participation citoyenne à la société, ainsi qu'un contrôle sur l'économie étaient les conditions d'une vraie démocratie. Par conséquent, l'Etat cessait d'être conçu comme une menace pour la liberté de l'individu. Auteur de nombreux ouvrages, Hobhouse fut aussi éditorialiste au Manchester Guardian et un témoin engagé de son temps. Il s'intéressa particulièrement aux relations internationales. Ainsi, lors de la guerre des Boers il s'insurgea contre l'impérialisme de son gouvernement. Par la suite il fonda beaucoup d'espoir sur la politique du gouvernement libéral de 1906 à 1914, mais son optimisme prit fin avec la première guerre mondiale et le déclin du parti libéral qui s'ensuivitL. T. Hobhouse (1864-1929), a major theorist of British New Liberalism, put forward a political project aimed at setting up social justice. On the basis of a sociological analysis of history and of society, he reformulated Liberalism, defining it as co-operative collectivism. The individual, evolving towards reason, had to understand that his own interest was bound up with the common good. Playing a responsible part in society, together with exercising economic control, were the conditions of real democracy. Consequently the State was no longer thought to be a threat to individual liberty. Hobhouse, who wrote many books, also wrote leaders for the Manchester Guardian and was a politically committed observer of the time. He was particularly interested in international relations. During the Boer war he strongly criticised the government's imperialism. He then had high hopes for the policies of the 1906-1914 Liberal government. But his optimism ended with the first World War and the subsequent decline of the Liberal party
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Muñoz, Theresa Lynda. "Alienation in the work of Tom Leonard." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/7028/.
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This thesis is a chronological study of Tom Leonard's body of work from the years 1965-2009. In a span of forty-four years, Leonard produced three full poetry collections, a book of essays, an anthology of Renfrewshire writers and a biography of poet James Thomson. Though Leonard's work contains a range of narrative styles and genres, notably his pioneering work in urban phonetic dialect in the 1960s, a singular objective binds his varied oeuvre: the exploration of a fictive alienated persona. Through applying definitions of alienation from a sociological and existential perspective, this thesis provides an aesthetic framework for reading Leonard's work holistically. It charts the various methods by which Leonard’s poems and prose create a marginalised identity; initially in the areas of religion, class and language and later in the presentation of individuals who suffer from self-alienation (a fragmented sense of self ) and who express the desire to feel at peace or 'free' in their daily lives within in an existential context. Leonard articulates, but does not resolve, the emotional state of individuals who feel alienated from society or within their own minds and bodies. This thesis recognises that alienation does not apply to Leonard within the context of race or gender due to his position as a white, male writer who has been recognised for his work. However, Leonard's poems in urban phonetic dialect which explore language prejudice, his presentation of neglected writers in Radical Renfrew, his exploration of mental illness in nora's place and in Places of the Mind: The Life and Work of James Thomson (B.V.) illustrate an interest in, and empathy for, those who feel alienated from society, or to borrow his own words, those who exist ‘outside the narrative’. Hence, the wider theme of alienation can be seen as the philosophical arc shaping his body of work. As this is the first holistic analysis of Leonard's work, this thesis also aims to provide contextual analysis of Leonard's influential role in the flourishing use of urban phonetic dialect in Scottish literature, and also aims to address gaps in previous critical analyses of Leonard’s work. The thesis identifies critical gaps in discussion of Leonard's work which include an absence of holistic criticism; a general failure to identify Leonard’s use of contemporary poetics; a failure to recognize his application of philosophical concepts such as existentialism and humanism to his work, and significantly, the missed opportunity to identify a consistent theme in his work. The five chapters of the thesis correspond to each of Leonard's main books, Intimate Voices, Radical Renfrew, Reports From the Present, access to the silence and outside the narrative. Each chapter builds on the premise that Leonard's poetry, prose and biography develops, responds to, and presents an alienated voice.