Dissertations / Theses on the topic 'Poem film'
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Ireopoulos, Fil. "The film poem." Thesis, University of Kent, 2010. http://www.research.ucreative.ac.uk/id/eprint/1061.
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The thesis traces the history of the film poem as a concern and formal strategy within artists' film traditions over the last one hundred years. Via a theoretical framework (that includes Russian Formalist literary poetics, experminetal film studies, critical theory and linguistics) the investigation reveals and explicates what connects the ways different practitioners have synthesised the two terms "film" and "poem" and discusses the relevance of the "film poem" as a combinative term within a contemporary art context.
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Haw, Matthew James. "Boudica & field notes towards a dynamic film-poem form." Thesis, Lancaster University, 2017. http://eprints.lancs.ac.uk/124994/.
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The thesis comprises an original, book-length sequence of poems, Boudica, and a film-poem of the same name. Boudica engages in a topographical mediation on East Anglia, specifically the landscapes of Norfolk and north Suffolk. The subject of the sequence is Boudica, a young woman trapped within a stifling suburban upbringing and her dead-end job at the pub in her village. Structured in four parts, the poem explores her adolescent ennui, her ambivalence towards place and her small acts of existential rebellion against this condition. The verse itself is constructed of images from cinema and after cinema, images bound to the physicality of cinema. Poet and narrator are allowed access to the viewfinder: lines, images, and stanzas attempt to frame themselves within the logic of cinematography, a logic which asks that the poet’s eye becomes the camera lens, exploiting cinema and ekphrasis by projecting meaning without making it explicit. The film is composed of images which have been suggested by the lyrics, the cinematic sequencing of these images has then dictated the order in which the lyrics appear in the collection. The thematic and structural links between the film and the sequence of poems are the subject of the supporting reflective essay. This paper explores my practice-led methodology and approach to the making of Boudica, offering key definitions with regards to ekphrasis and the hybrid film-poem form. It explores dynamic points of intersection between film and poetry in Boudica as well as case studies in recent writing and practice on ekphrasis, poetry and cinema.
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Speranza, Robert Scott. "Verses in the celluloid : poetry in film from 1910-2002, with special attention to the development of the film-poem." Thesis, University of Sheffield, 2002. http://etheses.whiterose.ac.uk/6018/.
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Poetry is not a new phenomenon in film and television. It is consistently treated as such because its presence is not common; poetry is repeatedly viewed as a 'special element' in a production. However, visual poetry is becoming less and less of an oddity in modern-day films. This thesis, which surveys multiple intersections of poetry and cinema, places particular emphasis on the most specific and direct use of poetry within film: 'film-poems'. Numerous poets and filmmakers today have made film-poems, particularly poet Tony Harrison. These works are important because they are revolutionary in their combination and application of the two media: a film-poem is a simultaneous collaboration of writing, shooting and cutting, which makes for extraordinary, sense-inundating viewing. Their qualities, not to mention their evolution, have escaped formal study for the most part, and fully deserve critical exploration. The Harrisonian film-poem heavily involves both filmmaker and poet in most aspects of production. Yet there are discrepancies that emerge when using the term 'film poem'. Other classifications link the words to the arena of avant-garde cinema. Avant-garde films might contain some verse, but mainly they depict a theme or story through a cinematically metaphorical means, using images as those metaphors, using cinematic devices as poetic devices. A study of the avant-garde and a language of cinema that is called 'poetry'itself (by some)is another focus of this thesis. I also concentrate on the cinematic placement of poetry in feature films. When films cite poetry, they immediately take on a new dimension, a significant deeper layer to their own story lines. Similarly, the poem also gains a significance that will link it with a scene and theme in the film, and the film's specific images. I begin this thesis with a study of this kind of citation, discussing the prospect of poetic presence in film, and proceed to discuss the development of film and poetry, which inevitably leads to its most significant intersection: the film-poem.
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Challis, John David. "'The Knowledge', a collection of poetry, and, The poem noir : film noir in contemporary poetry." Thesis, University of Newcastle upon Tyne, 2015. http://hdl.handle.net/10443/3072.
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This thesis consists of a collection of poetry, The Knowledge, and the first critical investigation into the ‘poem noir’, an unidentified and unexplored mode within contemporary poetry that exhibits thematic and visual echoes from the body of films known as film noir. Taking its title from the London taxi driver’s rigorous examination, The Knowledge’s key theme is displacement: from social class, education and from a sense of home. It echoes the quest of the doomed film noir protagonist, who, in a thirst for knowledge, is drawn into a psychological descent into a metaphorical underworld. Like the poems noir analysed in the critical section, these possess an anxious, pessimistic and obsessive engagement with the world, and are set within noirish locales to excavate the autobiographical and the imaginative. Inspired by film noir’s portrayal of individuals whose identity is called into conflict, the poems take the lid off the works of memory and place, to examine a personal and public moral compass, and to dramatize the past and the present. After providing a definition of film noir, the critical section outlines a model for reading a poem noir by analysing a selection of seminal American films noir of the classic 1941 to 1958 period, along with several neo-noir films produced from the 1970s onwards. It then provides close readings of Paul Muldoon’s hard-boiled Chandleresque poem, ‘Immram’ (1980), Deryn Rees-Jones’ book-length murder-mystery poem, Quiver (2004), and David Harsent’s nightmarish labyrinthine poem, ‘Elsewhere’ (2011), and introduces them as poems noir. In conclusion I consider how writing poetry is a noirish act, sharing a similarity with Seamus Heaney’s notion that the role of writing poetry is to unearth revelations about the self, and with Henrik Gustafsson’s thesis that film noir is concerned with taking the lid off the works to expose whatever truth lies beneath.
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Robinson, Peter. "Shared intimacy : a study of Tony Harrison's public poetry with specific reference to his poetics, the political status of his work and his development of the genre of the film/poem." Thesis, University of Hull, 1998. http://hydra.hull.ac.uk/resources/hull:3868.
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Marcondes, Ciro Inácio. "Limite : o poema em filme." reponame:Repositório Institucional da UnB, 2008. http://repositorio.unb.br/handle/10482/3623.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2008.Submitted by Kathryn Cardim Araujo (kathryn.cardim@gmail.com) on 2009-10-01T13:34:53Z No. of bitstreams: 1 2008_CiroInacioMarcondes.pdf: 1110621 bytes, checksum: 23e48cc6a128274e10a152eba68fabec (MD5)
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“Limite: o poema em filme” se propõe a investigar quais as relações entre a poesia no cinema e na literatura a partir do filme Limite (1931), de Mário Peixoto. O que faz com que um filme possa ser considerado um poema? Quais os antecedentes, dentre os elementos que compõem o fenômeno poético, que permitem que ele se expresse não apenas em palavras, mas também em imagens? Limite, o famoso clássico de vanguarda silencioso de Mário Peixoto, apresenta características específicas que nos conduzem a entendê-lo não como narrativo (não conta uma história), mas como poema, não apenas por sua estrutura não-usual, mas por sua carregada simbologia, que o distancia do enredo e o aproxima da sensibilidade, de idéias transcendentes e das relações paradoxais que se estabelecem entre o homem e as coisas. Isso conduz a uma investigação a respeito da própria natureza do poético, de sua insolúvel ambigüidade e de seu eterno projetar-se para os problemas sem solução. Por fim, o estudo de Limite se une à estética transcendental de Kant para procurar entender o filósofo a partir do filme, e o filme a partir do filósofo. _________________________________________________________________________________________ ABSTRACT
“Limite: poem on film” proposes to investigate which are the relations between poetry in cinema and literature starting from Mário Peixoto’s film Limite (1931) as a paradigm. What makes a film to be considered a poem? Which are the antecedents, between the elements that compose the poetic phenomenon, that allows poetry to express not only in words, but also in images? Limite, Mário Peixoto’s famous avant-garde silent classic, shows specific characteristics that lead us to understand it not as a narrative film (it doesn’t tell a story), but as a poem-structured composition, not only because of its nonusual structure, but also for its heavy symbology, that distances it from an usual plot and approximates it to sensibility, to transcendent ideas and to paradoxal relations between men and things. That lead to an investigation of the poetics own nature, of its inextricable ambiguity and of its eternal projecting to insoluble problems. Finally, this Limite study joins to Kant’s transcendental aesthetics trying to understand the philosopher from the film’s contingencies, and the film from the philosopher’s contingencies.
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ANTONIOLI, ROSARIA. "IL MITO DI ARMIDORO. Giovanni Soranzo e il suo poema milanese (1611)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/287.
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Il primo capitolo si occupa degli aspetti culturali e letterari della Milano di inizio Seicento, in particolare attraverso lo studio dello sviluppo del 'genere poema' e il confronto di due opere, pubblicate nel 1611 dallo stesso stampatore Giacomo Como: La risorgente Roma di Giovan Ambrogio Biffi e L'Armidoro del poeta veneziano Giovanni Soranzo. Entrambi gli autori ebbero come patrono il conte di Sale Francesco d'Adda, mecenate, pittore dilettante e cavaliere, dedito all'organizzazione di tornei. Questo tipo di intrattenimento, molto diffuso nelle corti italiane del periodo, è argomento del secondo capitolo. dalla lettura delle cronache sulle giostre allestite a Milano tra il 1605 e il 1606 per festeggiare i natali del delfino di Spagna, cui partecipò lo stesso conte di Sale, sappiamo che il personaggio di Armidoro, cantato nei loro versi sia da Biffi che da Soranzo, altri non è che lo stesso Francesco d'Adda. abbiamo scoperto anche che tra le fonti del poema di Soranzo vi sono le relazioni del matrimonio delle infante di Savoia (1608) e il testo del Balletto delle ingrate del Rinuccini, composto per l'evento, musicato da Claudio Monteverdi. Il terzo capitolo consiste nell'analisi del poema di Soranzo, di circa 36.500 versi, che trae ispirazione dai modelli di Ariosto e Tasso, ma per certi aspetti si mostra in sintonia con le nuove mode poetiche del secolo barocco.The first chapter deals with cultural and literary aspects of Milan at the beginning of XVII century, through the confrontation of two poems, published in 1611 by the same editor Giacomo Como: the Risorgente Roma of the Milanese author Giovan Ambrogio Biffi and the Armidoro, wrote by the Venetian poet Giovanni Soranzo. Both Biffi and Soranzo were protected from Francesco d'Adda, earl of Sale's county, patron of artists, amateur painter and knight, who delighted in organizing tournaments. This kind of entertainment, very frequent in the Italian courts of that period, is argument of the second chapter. After the reading of chronicles about chivalrous performances, played in Milan by count of Sale from 1605 till 1606 to celebrate the birth of Spanish prince, we know that Armidoro is the mask of Francesco d'Adda. At the same time we detected many important sources of the Soranzo's poem: the commentaries of Federico Follino and Pompeo Brambilla on the marriage between Francesco Gonzaga and Margherita di Savoia (1608), and the Ingrate's ballet of Ottavio Rinuccini, performed in that occasion with music of Claudio Monteverdi. The third chapter consists on analysis of Armidoro, the poem of about 36.500 lines that Soranzo wrote in competition with Ariosto's Orlando furioso and Tasso's Gerusalemme liberata.
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McGrady, Christopher Dwain. "Linking Rheological and Processing Behavior to Molecular Structure in Sparsely-Branched Polyethylenes Using Constitutive Relationships." Diss., Virginia Tech, 2009. http://hdl.handle.net/10919/37924.
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This dissertation works towards the larger objective of identifying and assessing the key features of molecular structure that lead to desired polymer processing performance with an ultimate goal of being able to tailor-make specific macromolecules that yield the desired processing response. A series of eight well-characterized, high-density polyethylene (HDPE) resins, with varying degrees of sparse long chain branching (LCB) content, is used to study the effect of both LCB content and distribution on the rheological and commercial processing response using the Pom-pom constitutive relationship. A flow instability known as ductile failure in extensional flow required the development a novel technique known as encapsulation in order to carry out shear-free rheological characterization.
Ductile failure prevents the rheological measurement of transient stress growth at higher strains for certain strain-hardening materials. This reduces the accuracy of nonlinear parameters for constitutive equations fit from transient stress growth data, as well as their effectiveness in modeling extensionally driven processes such as film casting. An experimental technique to overcome ductile failure called encapsulation in which the material that undergoes ductile failure is surrounded by a resin that readily deforms homogeneously at higher strains is introduced. A simple parallel model is shown to calculate the viscosity of the core material.
The effect of sparse long chain branching, LCB, on the film-casting process is analyzed at various drawdown ratios. A full rheological characterization in both shear and shear-free flows is also presented. At low drawdown ratios, the low-density polyethylenes, LDPE, exhibited the least degree of necking at distances less than the HDPE frostline. The sparsely-branched HDPE resins films had similar final film-widths that were larger than those of the linear HDPE. As the drawdown ratio was increased, film width profiles separated based on branching level. Small amounts of LCB were found to reduce the amount of necking at intermediate drawdown ratios. At higher drawdown ratios, the sparsely-branched HDPE resins of lower LCB had content film-widths that mimicked that of the linear HDPE, while the sparsely-branched HDPE resins of higher LCB content retained a larger film width. Molecular structural analysis via the Pom-pom constitutive model suggested that branching that was distributed across a larger range of backbone lengths serve to improve resistance to necking. As the drawdown ratio increased, the length of the backbones dominating the response decreased, so that the linear chains were controlling the necking behavior of the sparsely-branched resins of lower LCB content while remaining in branched regime for higher LCB content HDPEs. Other processing variables such as shear viscosity magnitude, extrudate swell, and non-isothermal processing conditions were eliminated as contributing factors to the differences in the film width profile.
The effect of sparse long chain branching, LCB, on the shear step-strain relaxation modulus is analyzed using a series of eight well-characterized, high-density polyethylene (HDPE) resins. The motivation for this work is in assessing the ability of step-strain flows to provide specific information about a material's branching architecture. Fundamental to this goal is proving the validity of relaxation moduli data at times shorter than the onset of time-strain separability. Strains of 1% to 1250% are imposed on materials with LCB content ranging from zero to 3.33 LCB per 10,000 carbon atoms. All materials are observed to obey time-strain separation beyond some characteristic time, Ï k. The presence of LCB is observed to increase the value of Ï k relative to the linear resin. Furthermore, the amount of LCB content is seen to correlate positively with increasing Ï k. The behavior of the relaxation modulus at times shorter than Ï k is investigated by an analysis of the enhancement seen in the linear relaxation modulus, G0(t), as a function of strain and LCB content. This enhancement is seen to 1) increase with increasing strain in all resins, 2) be significantly larger in the sparsely-branched HDPE resins relative to the linear HDPE resin, and 3) increase in magnitude with increasing LCB content. The shape and smoothness of the damping function is investigated to rule out the presence of wall-slip and material rupture during testing. The finite rise time to impose the desired strain is carefully monitored and compared to the Rouse relaxation time of the linear HDPE resins studied. Sparse LCB is found to increase the magnitude of the relaxation modulus at short times relative to the linear resin. It is shown that these differences are due to variations in the material architecture, specifically LCB content, and not because of mechanical anomalies.Ph. D.
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Seay, Christopher Wayne. "The Role of Branching Topology on Rheological Properties and its Effect on Film-Casting Performance." Diss., Virginia Tech, 2008. http://hdl.handle.net/10919/37671.
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With this research, we work towards the overall objective of customizing polymer molecules in terms of their molecular structure to optimize processing performance. The work includes analysis of the rheology in shear and shear-free flows for sparsely long-chain branched, LCB, polyethylene, PE, resins; determination of the consistency of the molecular based constitutive model, the pom-pom model; for these flows, and evaluation of the same PE resins in film-casting. As we progress towards molecular systems with defined molecular structural characteristics, we transition from a linear low density polyethylene, LLDPE, based series of PE resins to a high density polyethylene, HDPE, based series of PE resins, each with materials of varying degrees of sparse LCB.
Evaluation of the shear step-strain rheology for the series of LLDPE-based PE resins allows for the assessment of any inadequacies associated with the step-strain experiments and the ability of the K-BKZ analog of the pom-pom constitutive model to predict step-strain rheological behavior. Finite rise time and wall slip are addressed to ensure the accuracy of the experimental step-strain measurements and eliminated as factors contributing to the stress relaxation moduli response. Analysis of the K-BKZ analog of the pom-pom constitutive model includes comparisons between experimental stress relaxation moduli and predictions from the model using pom-pom model parameters determined from extensional rheology. The results show inconsistencies in the model predictions, where the predictions fail to capture the short time behavior and accurately dampen at larger strains. Pom-pom model parameters are determined using the K-BKZ analog of the pom-pom constitutive model and fitting the stress relaxation moduli. These results are qualitatively consistent indicating that branching occurs on the longest backbone segments, but the values appear to be unrealistic with respect to the molecular theory.
Analysis of film-width reduction or necking during film-casting for the series of LLDPE-based resins determines whether uniaxial extensional rheological characteristics, in particular strain-hardening, that are a result of LCB influence the film-necking properties. At the lowest drawdown ratio necking is observed to be reduced with increasing LCB, and thus strain-hardening characteristics. At the higher drawdown ratios it is observed that LCB no longer reduces necking and the curves merge to the results found for linear PE, except in the case of LDPE, which shows reduced necking at all drawdown ratios. Furthermore, comparisons of film necking are also made to separate the effects of molecular weight distribution, MWD, and LCB. The results indicate that both broadening the MWD and the addition of sparse LCB reduce the degree of necking observed. It is established that film necking is more significantly reduced by LCB than by broadening the MWD. Analysis of the uniaxial extensional and dynamic shear rheology with the pom-pom constitutive model reveals that a distribution of branches along shorter relaxation time modes is important in reducing necking at higher drawdown ratios. Factors such as shear viscosity effects, extrudate swell, and non-isothermal behavior were eliminated as contributing factors because of the similar shear viscosity curves, N1 curves, and activation energies among the sparsely LCB PE resins.
The same experimental concepts have been extended to the series of HDPE-based resins, but the lack of adequate uniaxial extensional data prevents a thorough analysis with respect to uniaxial extensional characteristics. Regardless, in the context of step-strain rheology, the results were found to be similar with those of the LLDPE-based series of resins, where a distinctive shape at short times was observed for any of the PE resins possessing some level of LCB that was not apparent in the linear PE resins. Film-casting revealed similar results to those of the LLDPE-based materials as well, but a broader spectrum of drawdown ratios revealed greater insight into how the distribution of branching controls the film-casting response. At low drawdown ratios all materials exhibit the same necking behavior. At intermediate drawdown ratios separation occurs where the linear PE resins experiences the most drastic necking, the sparsely LCB PE resins show reduced necking, and the LDPE shows an even greater reduction in necking. Progression then to the higher drawdown ratios results in similar necking behavior for the linear and sparsely LCB PE resins and greatly reduced necking for the LDPE. These results support the idea that to reduce necking the backbone segments that dominate the film-casting behavior must contain some level of LCB.Ph. D.
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Kryszak, Cynthia. ""Un chien andalou", un "filme poema": Analisis del prologo." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/26382.
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El corpus biliografico en tomo al prologo del "filme poema" Un chien andalou (1929) es voluminoso. En este trabajo proporcionamos una sintesis de los analisis del prologo obtenidos gracias a diversos acercamientos: el analisis textual, la indagacion pragmatica, la intertextualidad y el estudio de la recepcion filmica. Identificamos dos esquemas globales que estructuran las imagenes y los temas del prologo: la contraposicion simple y la poesia asociativa surrealista. En los ultimos anos, teoricos y biografos han relacionado la esqumatizacion del prologo con varios discursos que circulaban en aquella epoca y que, segun Jose Caos, forman parte de la antitesis del racionalismo, o sea el antropologismo: las consideraciones entomologicas de Fabre y de Maeterlinck, las reflexiones del marques de Sade sobre la doctrina tomista, el marxismo, los movimientos literarios ultraista y surrealista, y el psicoanalisis. Segun los defensores del psicoanalisis, estos aspectos formales, tematicos y estructurales del prologo escenifican los mecanismos psiquicos regresivos e irracionales que intervienen en la recepcion espectatorial. Sin embargo, nuestro estudio del prologo dentro el marco cognitivo y ecologico revela el caracter racional y adaptativo de estos comportamientos mentales. Asi concluimos que el filme Un chien andalou, mas alla que una simple reaccion en contra del racionalismo, es el sitio donde se contraponen el racionalismo y el antropologismo.
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Ethridge, Benjamin Kane. "Causes of unease: Horror rhetoric in fiction and film." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2766.
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How do artists scare us? Horror filmmakers and novelists alike can accomplish fear, revulsion, and disturbance in their respective audiences. The rhetorical and stylistic strategies employed to evoke these feelings are unique to the genre. Divulging these strategies will be the major focus of this thesis, yet there will also be discussion on the social and cultural background of the Horror genre.
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Warth, Eva-Maria. ""The haunted palace" : Edgar Allan Poe und der amerikanische Horrorfilm, 1909-1969 /." Trier : WVT, Wissenschaftlicher Verl. Trier, 1990. http://catalogue.bnf.fr/ark:/12148/cb35562232t.
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Simmons, Jennifer Beth. "Visions of feminist (pom(o)nanism) masturbating female postmodern subjectivity in american television and film /." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0004890.
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SAMARINI, FRANCESCO. "POEMI SACRI NEL DUCATO DI MILANO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/11128.
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Il genere del cosiddetto “poema sacro” fu uno dei più frequentati nella letteratura italiana tra il XVI e il XVIII secolo, ma le opere afferenti a questa categoria letteraria sono state a lungo ignorate dai critici. La mia ricerca si propone di studiare una sezione limitata di tale enorme produzione, ossia le opere in volgare pubblicate nel Ducato di Milano, coprendo un arco temporale che va dal 1566 al 1706. Sulla base di una rigorosa analisi dei componimenti, spesso poco studiati o del tutto sconosciuti, questo lavoro intende delineare le peculiari declinazioni dell'epica sacra nella realtà milanese, fortemente influenzata dall'indirizzo culturale proposto da Carlo e Federico Borromeo. Gli autori dei poemi considerati sono Sisto Poncello, Giovanni Maria Paroli, Cesare Della Porta, Ettore Colombo, Annibale Guasco, Giacomo Turamini, Antonio da Brugnato, Bernardino Baldi, Antonio Biaguazzone, Giulio Fe', Lelio Guidiccioni, Ambrogio Ferro, Francesco Antonio Tomasi, Francesco Pallavicini, Stefano Rossi, Giacinto Faggi, Giuseppe De Maltraversi, Pietro Paolo Giletti, Alessandro Ghirardelli, Basilio Bertucci.The so-called “sacred poem” was one of the most successful genres of the Italian literature between the 16th and the 18th century, but the works belonging to this category have usually been ignored by critics. My research aims at studying a limited part of this enormous literary production, considering the vernacular poems published in the Duchy of Milan between 1566 and 1706. On the basis of a meticulous analysis of the texts, often scarcely studied or completely unknown, I intend to determine the features of the sacred epic in the Milanese environment, which was strongly influenced by the cultural policy promoted by Carlo and Federico Borromeo. The authors of the poems are Sisto Poncello, Giovanni Maria Paroli, Cesare Della Porta, Ettore Colombo, Annibale Guasco, Giacomo Turamini, Antonio da Brugnato, Bernardino Baldi, Antonio Biaguazzone, Giulio Fe', Lelio Guidiccioni, Ambrogio Ferro, Francesco Antonio Tomasi, Francesco Pallavicini, Stefano Rossi, Giacinto Faggi, Giuseppe De Maltraversi, Pietro Paolo Giletti, Alessandro Ghirardelli, Basilio Bertucci.
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Christol, Florent. "Massacres et mascarades : « Hop-Frog » d'Edgar Poe (1849) et le film d'horreur américain contemporain (1964-1984)." Thesis, Poitiers, 2013. http://www.theses.fr/2013POIT5014.
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Le slasher est un sous-genre du film d'horreur reposant sur une figure de tueur masqué punissant en apparence la sexualité adolescente. Très populaire auprès du public adolescent de 1978 à 1984, il serait, selon de nombreux critiques, une expression de sadisme « gratuit ». Cependant, toute production culturelle possède une légitimité qui peut lui être conférée en trouvant une clé de lecture adéquate. Cette clé est selon-nous un archétype culturel que nous nommons foolkiller, et qui figure une victime marginale sanctionnant les actes irresponsables mettant en danger les membres les plus faibles de la communauté. Cet archétype convoque l'imaginaire médiéval du charivari, un rite de justice folklorique punissant les manquements à la morale. Pour parvenir à cette référence, il est nécessaire de montrer que le slasher a masqué un genre plus large qui gravite autour d'une victime humiliée se vengeant de ses persécuteurs et qui inclue des films comme Willard (1971), Carrie (1976), ou encore Fade to Black (1980). Or, on peut trouver une formulation prototypique de cette histoire dans Hop-Frog (1849), une nouvelle d'Edgar Poe racontant la vengeance d'un bouffon difforme persécuté par un roi sadique. Nous envisageons cette nouvelle comme un artefact prototypique de l'archétype culturel du foolkiller dont le genre masqué par le slasher est une expression contemporaine. L'étude de cette nouvelle et de ses références culturelles permet de comprendre le fonctionnement de l'archétype et son apparition en réponse à une crise sacrificielle au sens où l'entend René Girard. Une crise du même genre est repérable dans la culture américaine des années 1970, ce qui explique la résurgence de l'archétype à cette périodeThe slasher movie is a horror film sub-genre featuring a masked killer supposedly punishing teenage sexuality. Extremely popular among teens from 1978 to 1984, it is generally discarded by serious critics as a spectacle of gratuitous violence. However, the genre can be granted some legitimacy once it is seen as a contemporary form of a cultural archetype which we call "foolkiller". This archetype revolves around a freak avenging its own humiliation at the hands of bullies and punishing irresponsible acts endangering the weakest people in a community. Culturally speaking, this archetype has roots in the medieval practice of "rough music", a masked demonstration organized to humiliate some wrongdoer and to punish moral transgressions in the community. In order to access this cultural reference, it is necessary to show that the attention given the slasher film has concealed the existence of another genre, comprising slasher films but also movies such as Willard (1971), Carrie (1976), and Fade to Black (1980), whose protagonist is a victim avenging its persecution. This plot can also be found in "Hop-Frog", a short-story written by Edgar Allan Poe in 1849. It tells the story of a jester dwarf bullied by a cruel king. We argue that this tale is a prototypical artifact of the foolkiller archetype, which also informs the genre concealed by the slasher film. The cultural frame of this short story enables us to understand how the archetype functions and its relationship to what René Girard calls a "sacrificial crisis". Such a crisis is at work within 1970's American culture, which explains why the archetype reappears during this time.The slasher movie is a horror film sub-genre featuring a masked killer supposedly punishing teenage sexuality. Extremely popular among teens from 1978 to 1984, it is generally discarded by serious critics as a spectacle of gratuitous violence. However, the genre can be granted some legitimacy once it is seen as a contemporary form of a cultural archetype which we call "foolkiller". This archetype revolves around a freak avenging its own humiliation at the hands of bullies and punishing irresponsible acts endangering the weakest people in a community. Culturally speaking, this archetype has roots in the medieval practice of “rough music”, a masked demonstration organized to humiliate some wrongdoer and to punish moral transgressions in the community. In order to access this cultural reference, it is necessary to show that the attention given the slasher film has concealed the existence of another genre, comprising slasher films but also movies such as Willard (1971), Carrie (1976), and Fade to Black (1980), whose protagonist is a victim avenging its persecution. This plot can also be found in "Hop-Frog", a short-story written by Edgar Allan Poe in 1849. It tells the story of a jester dwarf bullied by a cruel king. We argue that this tale is a prototypical artifact of the foolkiller archetype, which also informs the genre concealed by the slasher film. The cultural frame of this short story enables us to understand how the archetype functions and its relationship to what René Girard calls a "sacrificial crisis". Such a crisis is at work within 1970's American culture, which explains why the archetype reappears during this time
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Colombo, Paolo. ""Il tempo dei lunghi poemi". Percorsi di storia di un genere letterario (1814-1850)." Doctoral thesis, Università degli studi di Trento, 2020. http://hdl.handle.net/11572/255367.
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Il lavoro intende proporre un'indagine sulla persistenza e lo sviluppo della forma "poema" in una stagione, la prima metà dell'Ottocento, che, sulla scia dei radicali cambiamenti nel sistema dei generi letterari, ne avrebbe visto il progressivo declino, favorito dalla crescente egemonia del romanzo. Il mutamento non fu tuttavia immediato, e per lungo tempo, nei centri urbani come nelle aree periferiche, il poema godette di una diffusione e di una vitalità per molti versi sorprendenti.
In questa prospettiva, la prima parte della ricerca (Tre temi) è stata dedicata a un esame del fenomeno nelle sue proporzioni quantitative, condotto a partire dall'analisi di tre fioriture tematiche, indicative, pur nella modestia degli esiti, di un gusto consolidato e duraturo. Un censimento della produzione poetica nel periodo oggetto di studio (1814-1850) ha evidenziato la presenza di un recupero della poesia colombiana e dell'epos di scoperta, in continuità con la linea inaugurata da Tasso (Gerusalemme liberata, XV, 32, v. 8) e tentata, fra gli altri, da Stigliani e Tassoni; nel giro di un ventennio (1826-1846) furono infatti pubblicati almeno quattro poemi sull'argomento ("La Colombiade" di Bernardo Bellini; "Il Colombo" di Leonardo Antonio Forleo; l'"Amerigo" di Massimina Fantastici; il "Cristoforo Colombo" di Lorenzo Costa), accomunati da un'interpretazione in chiave religiosa della vicenda storica.
Negli stessi ani, un'analoga propensione all'epopea sacra costituì il fondamento concettuale di un ciclo di opere (cinque pubblicate fra 1819 e 1850) di soggetto gerosolimitano, incentrate sulla conquista romana di Gerusalemme (70 d.C.). Anche in questo caso, i precedenti rimontano all'età barocca, e segnatamente all'incompiuta "Gerusalemme distrutta" di Marino, il cui soggetto fu a breve distanza di tempo ripreso e sviluppato da Giovan Battista Lalli.
Un terzo versante tematico è invece rappresentato dalla tendenza, in un'ottica opposta, alla promozione di un'epica della contemporaneità, perseguita attraverso strade differenti: la tardiva rielaborazione della materia napoleonica (Luigi Budetti, Domenico Castorina), l'apologia dei sovrani restaurati (Troilo Malipiero), l'epopea municipale (Curti, Miovilovich), la rievocazione poetica dei fatti di Parga e, in genere, dell'indipendenza greca (Biorci, De Martino).
A una descrizione più dettagliatamente qualitativa è invece destinata la seconda sezione (Tre autori), che, muovendo da sondaggi più specifici sull'opera e il pensiero di figure maggiormente note e rilevanti, ambisce a fornire indicazioni utili alla comprensione generale del fenomeno. Il dato che più s'impone all'attenzione è senz'altro la trasversalità culturale della suggestione poetica, che agì al di là degli schieramenti politici (dagli ambienti reazionari a cospiratori come Pietro Giannone) e culturali, suscitando attenzione sia fra i classicisti che in ambito romantico (Pellico, Scalvini).
La fortuna del genere non poté tuttavia impedire l'insorgenza di una riflessione sui destini di una forma che rischiava di apparire anacronistica, e la questione della sopravvivenza dell'epos finì per attirare l'attenzione delle maggiori personalità del mondo letterario di quegli anni. Un'ampia e prolungata inchiesta sul tema, affidata alle pagine dello "Zibaldone", impegnò Leopardi dall'estate 1823 alla primavera 1829, alla vigilia di quegli anni Trenta occupati dalla composizione dei "Paralipomeni".
Venti anni più tardi, a metà secolo, la questione sarebbe parsa definitivamente chiusa a Manzoni, che, nel discorso "Del romanzo storico", avrebbe attribuito l'estinzione dell'epopea all'inarrestabile affermazione della storia sulla finzione.
Concludono la tesi un'"Appendice" e un "Catalogo" dei poemi analizzati.
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Palladini, Irene <1974>. "Il marchio della bestia per una fenomenologia dell'orrore nella narrativa di Tozzi e Poe." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/37/.
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Klöfver, Christian. "Dikterna i Andrej Tarkovskijs Spegeln." Thesis, Stockholms universitet, Slaviska språk, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-125586.
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RAMPAZZO, ELENA. "La poesia di Paolo Buzzi dagli esordi al Poema dei Quarantanni: temi e tensioni liriche fra tradizione e Futurismo." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1036.
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La tesi analizza la poesia di Paolo Buzzi dalle "Rapsodie leopardiane" al "Poema dei Quarantanni" (1898-1922), individuando temi e strategie liriche presenti in tutto l'arco temporale esaminato. Poiché Buzzi è noto come poeta futurista, si analizza in particolare la sua produzione riferibile all'avanguardia, per comprendere come egli, considerate le istanze della prima raccolta, abbia inteso il futurismo.The dissertation analyzes the Poetry of Paolo Buzzi from "Rapsodie leopardiane" until "Poema dei Quarantanni" (1898-1922), identifying lyrical themes and tensions present throughout the time period examined. Since Buzzi is known as a futurist poet, the dissertation analyzes in particular its production attributable to the forefront, to understand how he, considered instances of the first collection, was the intention of futurism.
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Johnson, Matthew B. "Investigations of the Processing-Structure-Property Relationships of Selected Semicrystalline Polymers." Diss., Virginia Tech, 2000. http://hdl.handle.net/10919/29009.
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An investigation was carried out on a three stage method (extrusion/annealing/uniaxial-stretching) (MEAUS) utilized to produce semicrystalline polymeric microporous membranes. The two semicrystalline polymers studied were selected based on a set-of-prerequisites proposed for the formation of highly porous membranes via the method in question. The prerequisites included "fast" crystallization kinetics, presence of an ac relaxation, ability to form a planar stacked lamellar morphology with a "good" crystalline orientation upon melt-extrusion, and rapid heat transfer of the film during extrusion. The first polymer was isotactic poly(4-methyl-1-pentene) (PMP), and the second was polyoxymethylene (POM). Three PMP resins were studied, which differed in weight average molecular weight. Three POM resins were also investigated where two of resins were characterized by relatively narrow molecular weight distributions (MWD) ca 2 while the third POM resin possessed a MWD ca 5.9. The melt-extruded film morphologies and orientation values were a consequence of the melt-relaxation times as a result of the resin characteristics and/or the melt-extrusion conditions.
Following the extrusion stage, the effect of annealing (second stage) on film properties was investigated. The annealing variables investigated included the temperature, time, and level of extension applied during annealing. The annealed films were then subjected to the uniaxially stretching stage (third stage) consisting of a cold and hot step, respectively, where deformation was along the extrusion direction. The variables of interest included the cold and hot stretch temperature and extension level. It was found that starting precursor morphology and orientation, annealing conditions, and stretching variables impact the final film microporous morphology and permeability. Additionally, the proposed prerequisites were verified in both the PMP and POM film series.
In addition to the MEAUS study, a comprehensive investigation was conducted of the optical properties of blown and cast films made from conventional Ziegler-Natta catalyzed linear low density polyethylene (LLDPE) as well as metallocene-catalyzed LLDPE resins. From this work, it was determined that in PE blown and cast films made using conventional processing conditions, the optical haze properties are adversely affected due to enhanced surface roughness caused by the formation of spherulitic-like superstructures in polymer melts that possess fast relaxing and low melt elasticity rheological characteristics. This optical property study was also published in J. Appl. Polym. Sci., 77(13), 2845, (2000).Ph. D.
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Páez, Muñoz Dennis. "Poesía y video. El poema en la pantalla-esfera: poetas y poéticas en registros audiovisuales: el caso de Chile: 1967-2016." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/458693.
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El siguiente trabajo explora las tensiones entre la poesía, el cine y el video, como la presencia del poeta en
estos formatos, bajo tres géneros o vías de estudio que sirven para entrelazar el mundo poético con el
universo de los medios audiovisuales. El estudio del poema, tanto como la figura del vate en estas obras
intemediales, nos acercará hacia algunas plataformas contemporáneas donde el poeta y el poema surgen bajo
diferentes prismas, apropiándose de las virtudes tecnológicas de la era digital para su (re) presentación en
pantalla.
Para desarrollar la investigación, se recopilaron cerca de 50 archivos audiovisuales relacionados con la
poesía y los poetas chilenos, desde donde se relevaron tres categorías o incipientes géneros audiovisuales, y
que hemos delimitado bajo las nociones de documental biográfico de poeta, ficciones de poetas/poéticas y
video-poemas. Estos tres formatos acotados al contexto geográfico de Chile, y comprendiendo un lapso
temporal que abarca casi a medio siglo, -entre el estreno del documental Yo soy Pablo Neruda (Mantell,
1967) y la película Poesía sin fin (Jodorowsky, 2016)- dejan al descubierto que existen diversos modos de
materialización tanto del poema como del poeta en la pantalla, los cuales han ido variando a través del
tiempo, en una evolución lenta, continua y poco observada, que paulatinamente , desde su amplitud y
diversidad, ha ido constituyéndose como un archivoThe following work explores the tensions between poetry, film and video, as well as the presence of the poet in these media. The poetical world and the universe of audiovisual media intertwine under three genres or lines of study. The study of the poem, as well as that of the figure of the vate in these intermedia works, will get us close to certain contemporary platforms in which the poet and the poem emerge through multiple prisms. Making of the virtues of the digital era their own for their (re)presentation on the screen. To develop the research, close to 50 audiovisual archives were compiled. From them three categories or incipient audiovisual genres were revealed in relationship to poetry and Chilean poets–under notions of biographical documentary, fictional poets/poetics, and video-poems. Limited to the geographical context of Chile and covering a temporal lapse of half a century –from the premiere of the documentary Yo soy Pablo Neruda (Mantell, 1967) to the film Poesía sin fin (Jodorowsky, 2016)-they uncover the existence of diverse modes of materialising both the poem and the poet in the screen. These have varied through time in a continued, slow and scarcely noticed evolution. Yet from its amplitude and diversity it has been gradually building up as an archive.
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Chemello, Maurício. "O efeito como fim: guias da composição." Pontifícia Universidade Católica do Rio Grande do Sul, 2008. http://hdl.handle.net/10923/4226.
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Previous issue date: 2008This dissertation examines the assumption that there is an expectation of the author to cause an effect on the reader. It presents it as part of the process of short story´s composition and like the principally element responsible for the qualification of the literary text. The work is organized into three areas: 1) short story aspects; 2) effect aspects; 3) fusion: the short story and the effect. It identifies short story's characteristics and the way theoretical texts analize the effect as its constituent element. The following texts were used as reference: Julio Cortázar, Ricardo Piglia, Aristoteles and Edgar Allan Poe, in addition with the theory of the effect of Wolfgang Iser
A presente dissertação analisa o pressuposto de que há uma expectativa do autor em provocar um efeito no leitor. Apresenta-o como parte do processo de composição do conto e elemento responsável pela qualificação do texto literário. O estudo divide-se em três eixos: 1) aspectos do conto; 2) aspectos do efeito; 3) fusão: o conto e o efeito. Identifica características do conto e o modo como os textos teóricos analisam o efeito como seu elemento constitutivo. Foram utilizados os estudos de Julio Cortázar, Ricardo Piglia, Aristóteles e Edgar Allan Poe, além da teoria do efeito, de Wolfgang Iser.
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Ciccarella, Erica. "Per una storia del mal francese nel Rinascimento italiano. Tra letteratura e medicina (1494-1629)." Doctoral thesis, Università degli studi di Trento, 2019. http://hdl.handle.net/11572/243448.
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The aim of my PhD thesis is to analyse the representation of the veneral desease in the Renaissance medecine and the reaction of the italian literature to the plague. To assess these questions, the analysis of literary texts required the study of the historical context, whit a particular attention to the history of medecine and the history of ideas. In view of its interdisciplinary purpose, the thesis has been divided into four research areas : the autobiographical tales of the poets affected by the syphilis (Antonio Cammelli, Niccolò Campani, Agnolo Firenzuola), the burlesque poetry in praise of the veneral desease (Giovan Francesco Bini, Agnolo Firenzuola, the Grappa, Giovan Francesco Ferrari and various popular printed booklets or pamplets), the relationship between a certain misogynist medicine and the satirical literature (Pietro Aretino, Francisco Delicado, Maestro Andrea Veneziano, Lorenzo Venier and some anonymous poems) and the presence of the syphilis in the epic production (Girolamo Fracastoro, Giovanni Giorgini, Tommaso Stigliani, Giovan Francesco Lalli). The thesis is followed by an Appendix A, composed of eight unpublished literary texts, and by an Appendix B, consisting of twenty-four images that accompany and enrich the reading of the different chapters.La presente ricerca ha lo scopo di fornire una mappatura della diffusione del motivo del mal francese nella letteratura del pieno e del tardo Rinascimento italiano. A questo proposito si sono presi in considerazione i testi letterari e medico-scientifici redatti a partire dallo scoppio dell’epidemia, il 1494, fino agli anni ’30 del Seicento. Le linee tematiche individuate sono state: il racconto testimonianza dei poeti «infranciosati», che intreccia generi e codici retorici differenti (Antonio Cammelli, Niccolò Campani, Agnolo Firenzuola), la produzione satirico-burlesca di capitoli in lode di «cose ignobili», che crea una sorta di filone interno alla letteratura dedicata al mal francese (Giovan Francesco Bini, Agnolo Firenzuola, il Grappa, Giovan Francesco Ferrari e altre «pelate»), il rapporto tra un sapere medico misogino e una certa letteratura anticlassicista, (Pietro Aretino, Francisco Delicado, Maestro Andrea Veneziano, Lorenzo Venier), e il legame che unisce l’epos alla narrazione del mal francese (Girolamo Fracastoro e Giovan Battista Lalli). Data la generosità del corpus analizzato e il dialogo costante tra le istanze letterarie e quelle del sapere medico, la ricerca è stata condotta utilizzando sia i metodi interpretativi della critica stilistica sia gli apporti della storia della medicina e della storia delle idee. A questo proposito si è dimostrato che il mal francese poteva diventare l’occasione privilegiata per una riflessione sul moderno, ma anche allegoria politica della corruzione degli Stati italiani all’indomani della discesa di Carlo VIII. Inoltre, la natura venerea aveva dato adito da una parte a un riaggiornamento dei topoi misogini sia in campo medico che in quello letterario, e dall’altra alla nascita di scritture autobiografiche che raccontavano le conseguenze personali e sociali della condizione di infranciosato.
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Chemello, Maur?cio. "O efeito como fim : guias da composi??o." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2008. http://tede2.pucrs.br/tede2/handle/tede/1869.
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Previous issue date: 2008-01-02A presente disserta??o analisa o pressuposto de que h? uma expectativa do autor em provocar um efeito no leitor. Apresenta-o como parte do processo de composi??o do conto e elemento respons?vel pela qualifica??o do texto liter?rio. O estudo divide-se em tr?s eixos: 1) aspectos do conto; 2) aspectos do efeito; 3) fus?o: o conto e o efeito. Identifica caracter?sticas do conto e o modo como os textos te?ricos analisam o efeito como seu elemento constitutivo. Foram utilizados os estudos de Julio Cort?zar, Ricardo Piglia, Arist?teles e Edgar Allan Poe, al?m da teoria do efeito, de Wolfgang Iser.
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Chen, Luyi, and Sofia Poggi. "Breaking the Stereotype of Chinese Acquisitions in Italy : An Empirical Study on Italian Target Firm Performance and the Influential Factors Affecting it." Thesis, Uppsala universitet, Företagsekonomiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-414725.
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The purpose of this research is to assess the impact of Chinese acquisitions on Italian target firm performance, and explore which characteristics of the acquirer can determine a change of it. First, a Paired-Samples T-test has been applied to appreciate the difference between pre-and post-acquisition performance on 27 sample companies. Secondly, through an OLS regression, the impact of the Chinese acquirers’ characteristics on the performance of Italian target companies has been estimated for the year 2018. In addition, two interviews with managers from one sample company were carried out to complement the quantitative findings with qualitative insight. The results show that the performance of Italian target companies did not change significantly after the acquisition-at least not in the time span of 3 years used for the analysis- in terms of: profitability, solvency and growth. However, job creation slightly increased following the takeover. Furthermore, our findings indicate that, among the Influential factors examined, Chinese acquirers’ prior M&Aexperience in developed countries and the level of relatedness have a significant and positive impact on the performance of Italian target sampled companies. Whereas, being acquired by a Chinese SOE or POE seems to not affect the performance. Lastly, another influential factor raised by our respondents resulted to be the integration strategy implemented by the Chinese acquirer.Indeed, choosing the appropriate integration strategy for the two entities can be crucial for the acquisition success, and ultimately, for the future performance of the target.
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Kapadia, Ninna. "Re-Story : The O.T.M.I* project*O.T.M.I = Obsolete Technical Mechanical Item." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5234.
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The core question in this master thesis is: What happens to the essence of an object when it becomes out of date and is no longer in use? I am addressing the sense of dignity in once meticulously designed technical/mechanical items that now has become obsolete. The intention has been to investigate how to give new meaning to obsolete items and find new eligibility for their existence. The investigation was conducted through the development of a method: collection, analysis, deconstruction, investigation and resurrection of a number of O.T.M.I. (Obsolete Technical Mechanical Items). The resurrection process consisted of the (re-)writing of the objects’ narratives. These stories along with the objects’ parts, spaces and sounds created a frame for a scenography, a soundtrack and characters to act in a film to tell the story. As interior designers we have the opportunity to transform space and fill it with stories. Imagination is an important tool: We benefit from having the ability to imagine, for instance, how different surfaces will reflect sound and light. Our imagination is highly visual. So I have transformed my imaginary world of Obsolete Technical Mechanical Items to visual and audial elements that support the content and values of a story through researching the objects, finding how to clarify and support the story. The Re-Story.
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Lima, Gilberto de. "Estudo de um novo eletr?lito polim?rico s?lido em forma de filme autossustent?vel: Poli(?xido de etileno)-tungstato de s?dio." PROGRAMA DE P?S-GRADUA??O EM QU?MICA, 2016. https://repositorio.ufrn.br/jspui/handle/123456789/21476.
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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES)
Filmes polim?ricos autossustent?veis baseados em um novo eletr?lito polim?rico s?lido (EPS), tendo como matriz hospedeira o poli(?xido de etileno) (POE) e como agente dopante o tungstato de s?dio (Na2WO4), foram obtidos para diferentes composi??es do sal (m = 0,20; 0,26; 0,30; 0,40; 0,50 e 1,31 mg). Os filmes foram caracterizados por DRX, FTIR, MEV/EDS, TG/DTG, DSC e EI. Os difratogramas de raios X confirmaram a natureza semicristalina do pol?mero e sugeriram que a adi??o do sal provoca uma redu??o na cristalinidade dos filmes. Os dados de FTIR permitiram a an?lise da intera??o entre os ?ons do sal e as cadeias polim?ricas. As micrografias obtidas por MEV demonstraram morfologia esferul?tica intercaladas por liga??es interlamelares para todas as composi??es estudadas. O estudo de TG/DTG mostrou que a decomposi??o t?rmica do eletr?lito ocorre em uma ?nica etapa com a adi??o do sal aumentando a estabilidade t?rmica dos filmes. Os dados de TG/DTG permitiram, ainda, o estudo cin?tico da decomposi??o t?rmica do eletr?lito por meio dos m?todos de Briodo (BR), Coats-Redfern (CR) e Horowitz-Metzger (HM) sugerindo uma cin?tica de 1? ordem para a rea??o de decomposi??o t?rmica dos filmes, assim como, a determina??o dos par?metros termodin?micos de ativa??o: E*, ?H*, ?S* e ?G*. O grau de cristalinidade foi determinado atrav?s dos dados de DSC e mostrou uma redu??o ap?s a adi??o do sal ao pol?mero. O eletr?lito POE/Na2WO4 exibiu um m?ximo de condutividade i?nica de 3,24x10-4 S.cm-1, a temperatura ambiente, para o filme com 1,31 mg do sal. Atrav?s dos dados de imped?ncia foi poss?vel o estudo de relaxa??o das cadeias do POE, assim como, a difus?o do sal entre estas cadeias. Os diagramas de imped?ncia, nos formatos Bode e Nyquist, permitiram o ajuste dos dados experimentais ? circuitos el?tricos equivalentes o que facilitou a associa??o dos componentes dos circuitos aos fen?menos f?sicos e qu?micos observados para os filmes e revelaram que, ap?s a adi??o do sal ao pol?mero, os filmes t?m suas propriedades el?tricas melhoradas.
Self-sustainable polymeric films based on new solid polymer electrolyte, having the poly(ethylene oxide) (PEO) as host matrix and sodium tungstate as doping agent (Na2WO4), were obtained from different salt compositions (m = 0.20; 0.26; 0.30; 0.40; 0.50 and 1.31 mg). The films were characterized through XRD, FTIR, SEM/EDS, TG/DTG, DSC and IS. X-ray diffraction showed the semi crystalline nature of the polymer and confirmed that the addition of salt induces reduction in the crystalinity of the films. FTIR data allowed the identification of the interaction between salt ions and polymer chains and confirmed that these interactions are of a physical nature. The micrographs obtained through SEM showed spherulitic morphology interleaved by interlayered bonds for all of the compositions studied. The TG/DTG study revealed that the thermal decomposition of the electrolyte almost happens at a single stage with the addition of salt, increasing the thermal stability of the films. TG/DTG data also allowed the kinetic study of the thermal decomposition of the electrolyte through Broido (BR), Coats-Redfern (CR) and Horowitz-Metzger (HM) methods, suggesting a first-order kinetic for the reaction of the thermal decomposition of the films, as well as the setting of pre-exponential factor, A, and the thermodynamic activation parameters: E*, ?H*, ?S* and ?G*. The crystallinity degree was determined through DSC data and showed a reduction after the addition of salt to the polymer. The polymer has its conductivity increased after addition of the salt with the PEO-Na2WO4 electrolyte exhibiting maximum of ionic conductivity of 3.24x10-4 S cm-1, to room temperature, for the film with 1.31 mg of salt (F6 film). The impedance data allowed the study on relaxation on PEO chains, even as the diffusion of salt between these chains. The impedance diagrams, on Bode and Nyquist formats, enabled the adjustment of the experimental data to equivalent electric circuits, which facilitated the association of the circuit components to the physical and chemical phenomena observed for the films and revealed that, after the addition of salt to the polymer, the films have their electrical properties enhanced.
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Roberts, Phillip Christopher. "Madeline Usher: An Opera in One Act." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395398280.
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ROSSINI, FRANCESCO. ""IO PER ME SONO UN'OMBRA". GIOVAN BATTISTA STROZZI IL GIOVANE (1551 - 1634) FRA POESIA E RIFLESSIONE LETTERARIA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/58409.
Full textAbstract:
La tesi propone uno studio monografico sul fiorentino Giovan Battista Strozzi il Giovane detto il Cieco (1551-1634), letterato e animatore di circoli culturali dalla Firenze medicea alla Roma barberiniana, attraverso la Milano borromaica e i cenacoli capitolini degli Aldobrandini e degli Umoristi. Nel primo dei tre capitoli che scandiscono la ricerca si è appuntata l’attenzione sulla partecipazione del Giovane alle attività di due vivaci consessi della sua città natale: l’Accademia Fiorentina e l’Accademia degli Alterati. Nel secondo è stata condotta una disamina dell’opera in versi – per la maggior parte ancora inedita – che comprende decine di epistole metriche in endecasillabi sciolti, un incompiuto poema in onore di Amerigo Vespucci, nonché un ricco corpus di madrigali, la cui stesura, nell’esperienza del Cieco, procedette di conserva con la speculazione teorica intorno alla nuova fisionomia cinquecentesca di questo antico genere lirico. La terza sezione si concentra invece sul contributo dello Strozzi alle discussioni di poetica (la ‘Commedia’ dantesca, il poema eroico, le unità aristoteliche) che accesero gli ambienti letterari italiani nella seconda metà del secolo XVI. Affiancando l’esegesi dei testi alla ricostruzione biografica – condotta su un ampio numero di documenti epistolari editi e inediti –, si è cercato di restituire il giusto spessore storico a ciascuno degli scritti presi in esame, ricostruendo i differenti contesti culturali in cui furono composti e scandagliando la fitta trama di relazioni – umane e letterarie – che si profila sullo sfondo di essi. Completano il lavoro una bibliografia delle opere antiche e moderne, un indice dei manoscritti e un indice dei nomi di persona.The thesis proposes a monographic study on the Florentine Giovan Battista Strozzi the Younger also known as the Blind (1551-1634). He was a writer with connections in cultural circles across Renaissance Italy, including Medici’s Florence, Barberini’s Rome, Borromean Milan and the Roman cenacles of the Aldobrandini and the Humorists. The thesis consists of three chapters. The first chapter focuses on the participation of Strozzi the Younger in the activities of two lively groups in his hometown: the Florentine Academy and the Alterati Academy. The second chapter discusses his poetical works – for the most part still unpublished –, including dozens of versified epistles in loose hendecasyllables, an unfinished poem in honor of Amerigo Vespucci, as well as a rich corpus of madrigals. The drafting of this last corpus proceeded together with Strozzi the Younger’s theoretical speculation around the new sixteenth-century appearance of this ancient lyrical genre. The third section considers the contribution of Strozzi the Younger to the discussions on poetics (Dante’s ‘Comedy’, the heroic poem, the Aristotelian units) that went on in Italian literary circles in the second half of the sixteenth century. In this work, we aimed to restore the appropriate historical depth to each of the writings examined, through the exegesis of texts combined with the biographical reconstruction conducted on a large number of published and unpublished epistolary documents. We also tried to reconstruct the different cultural contexts in which these writings were composed and attempted to analyze the dense network of relationships, both human and literary, that loomed in the background. The thesis is completed by a bibliography of ancient and modern works, an index of manuscripts and an index of names.
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Kolich, Tomáš. "Makabrózní, mysteriózní, monstrózní. Architektura a prostředí v gotickém hororu." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-353862.
Full textAbstract:
The topic of this thesis is architecture and settings of gothic horrors, particularly in films. The work explores the relationship between the genre of gothic horror and gothic architecture, mainly within examples of haunted castles. The aim of the work is to study in what way the haunted castles are depicted in films and how the gothic architecture is applied in their appearance. The thesis is divided in two parts. The first one is an analysis of some of the gothic horror tendencies which have an influence on the image of haunted castles. These can be observed in films as well as in literature and theatre since the beginnings of gothic horror in the second half of the 18th century until today. The second part uses these tendencies to analyse images of haunted castles in films Dracula (John Badham, 1979), Bram Stoker's Dracula (Francis Ford Coppola, 1992) and Van Helsing (Stephen Sommers, 2004).
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Bilbrough, Paola. "Givers, takers, framers : the ethics of auto/biographical documentary." Thesis, 2015. https://vuir.vu.edu.au/26229/.
Full textAbstract:
The tensions between ethical practice and aesthetic freedom in documentary film are particularly magnified in auto/biographical films that involve representations of family members or participants from a different cultural background to the artist, both contexts that demand a greater awareness of self and other. In this doctoral thesis I use 'auto/biographical' in its most expansive sense to signify the blurring of autobiographical stories with biographical material - the impossibility of telling the self's story without implicating others and vice-versa.
Also accompanying this thesis is a booklet of poems, titles "Porous", which is held in the Victoria University Library. The related URL links to the catalogue entry for this booklet.