Dissertations / Theses on the topic 'Thanatin'

The emergence of multidrug-resistant strains of Gram-negative pathogens that rapidly spread in the clinic is of great concern, since the range of antibiotics still effective against these organisms is limited and will continue to diminish. Therefore, the identification of novel and unexplored drug targets is an urgent need. Gram-negative bacteria possess an outer membrane (OM) with highly selective permeability properties due to its asymmetric structure with LPS in the outer leaflet and phospholipids in the inner leaflet. Dissecting the biogenesis of the OM and gaining insights into the multiprotein machineries that assemble this structure is vital if we want to succeed in developing novel antibiotic compounds that can target these machineries. This thesis focuses on the machinery that transports lipopolysaccharide (LPS) to the cell surface: the LPS transport (Lpt) machinery. In Escherichia coli, the Lpt system is composed of seven essential proteins spanning the cell envelope: the ABC transporter LptB2FGC powers the LPS extraction from the inner membrane (IM) and its transport along the periplasmic bridge, comprising LptA, to the OM LptDE translocon, which assembles LPS on the cell surface. Due to its vital role in cell physiology, the Lpt system represents a good target for the development of antibiotics with an innovative mechanism of action. Encouragingly, two promising inhibitors of this machinery have been discovered: murepavadin, which is currently in preclinical development, and thanatin. The research project of this thesis focuses on two main topics: elucidating the mechanism behind thanatin’s antibacterial activity, and the characterization of a mutant six-component Lpt machinery that is functional without LptC. Thanatin is a host-defence antimicrobial peptide recently shown to cause defects in membrane assembly and to bind to the N-terminal β-strand of LptA in vitro (Vetterli et al., 2018). Since this region is involved in both LptA dimerization and interaction with LptC, we implemented the Bacterial Adenylate Cyclase Two-Hybrid (BACTH) system to detect these interactions in the periplasm and probe which is the target of thanatin. With this technique, we found that thanatin targets both interactions and has a stronger inhibitory effect on the LptC-LptA interaction (Moura et al., 2020: https://doi.org/10.3389/fmicb.2020.00909). Further demonstrating a direct effect upon the LPS transport, we observed in thanatin-treated cells the degradation of LptA and the accumulation of LPS decorated with colanic acid (Moura et al., 2020), both of which have been previously reported to be indicative of LPS transport defects (Sperandeo et al., 2008, 2011). We further explored how thanatin affects the integrity of the cell envelope and observed that it induces promoters regulated by envelope-specific stress response systems (unpublished data). Although all seven Lpt proteins have been shown to be essential, viable mutants lacking LptC but carrying suppressor mutations at the residue R212 in the periplasmic domain of LptF were isolated by our group (Benedet et al., 2016). Interestingly, LptC was recently proposed to have a regulatory role on the LptB2FGC transporter by modulating its ATPase activity (Owens et al., 2019; Li et al., 2019), thus adding to the mystery of how the suppressor mutants can survive without LptC. In the second part of the project, we elucidated how the cell can bypass the presence of LptC and its regulatory role in the machinery by performing a biochemical characterization of the most representative suppressor mutant (manuscript ready for submission). Moreover, by analysing the interaction networks around the residue R212 of LptF, we also formulated a putative mechanism adopted by the Lpt transporter to regulate LPS transfer from LptB2FGC to LptA.

Viator, Landon Bachelor of Music, University of Louisiana at Lafayette, Fall 2015; Master of Music, University of Louisiana at Lafayette, Spring 2017 Major: Music Title of Thesis: Thanatos Thesis Director: Dr. Quincy Hilliard Pages in Thesis: 68; Words in Abstract: 94 Abstract The purpose of this thesis is to provide a theoretical analysis of my composition as well as demonstrate the techniques used to compose and compile electroacoustic music in the digital realm using a DAW software. I have demonstrated how to use MIDI instruments to compose music, how equalization was used to digitally change the timbre of the guitar and drums, how compression was used to control the dynamic range of the drums and add fullness to their sound, and I have demonstrated how to create MIDI notes to be played by the software instruments.

L'intérêt porté à l'étude des peptides antimicrobiens est motivé par la résistance croissante des bactéries face aux antibiotiques traditionnels, un problème particulièrement présent en milieu hospitalier. Ayant en vue d’approfondir ce domaine d’expertise, notre attention s’est arrêtée sur la thanatine. Ce peptide naturel présent chez la punaise soldat (Podisus maculiventris) se démarque par sa structure secondaire en forme d’épingle à cheveux et par sa capacité à entraîner l’agglomération des bactéries. L’objectif du projet est d’étudier l’interaction de la thanatine avec des membranes lipidiques modélisant les cellules eucaryotes et procaryotes afin d’en déduire son mécanisme d’action. En spectroscopie IRTF et RMN en phase solide, la structure et l’organisation des systèmes modèles ont été étudiées. L’agrégation de vésicules modèles a quant à elle été étudiée par diffusion dynamique de la lumière et spectroscopie UV-vis. Des avancées ont été faites concernant la formulation des membranes modèles.

Le sujet de cette étude est l'analyse thématique du désir et de la mort dans l'œuvre romanesque de Marguerite Yourcenar. Les figures mythiques d'Eros et de Thanatos se retrouvent dans tous les romans de cet auteur et notre but est d'analyser les variations du thème dans les ouvrages suivants : Le coup de grâce, Anna, Soror. . . , Denier du rêve, Mémoires d’Hadrien, L'œuvre au noir, Un homme obscur et Alexis ou le traité du vain combat. Dans ces romans Marguerite Yourcenar y aborde le concept Eros - Thanatos chaque fois de manière différente; il est donc nécessaire d'analyser successivement ces variantes. A l'exception d’Alexis ou le traité du vain combat notre étude se présente dans un ordre chronologique afin de dégager une évolution de la thématique du désir et de la mort à travers l'ensemble de l'œuvre romanesque. Il en résulte que les œuvres de maturité montrent une liberté plus grande envers les désirs qui jalonnent la vie en même temps qu'une acceptation plus sereine de la finitude humaine. La pensée quintessenciée de l'écrivain acquiert alors un champ d'observation plus vaste qui tend au détachement final
The subject of this study is a thematic analysis of desire and death in the novels of Marguerite Yourcenar. The mythic figures of Eros and Thanatos can be found in all the novels of this author and our goal is to show the various representations of these figures in the following works: Le coup de grace, Anna, soror. . . , Denier du rêve, Mémoires d'Hadrien, L'oeuvre au noir, Un homme obscur and Alexis et le traité du vain combat. In each instance, Marguerite Yourcenar treats the concept Eros - Thanatos differently; it is thus necessary to analyze successively these variations. To the exception of Alexis et le traité du vain combat, our study presents the novels in a chronological order in order to distinguish an evolution of the thematical concept of desire and death in the fictional works of this author. As a result, we see that her later works illustrate an increased openness towards desires as well as a more serene acceptance of human finiteness. The quintessential thought of the writer acquires thus a larger vision leading to the final detachment from earthly concerns

Orientador: Luise Weiss
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta tese é resultado de uma pesquisa iniciada no mestrado e consiste na produção de estampas predominantemente provenientes de matrizes de gravura em metal e xilogravura, gravadas para serem capazes de permutar suas formas entre elas separadamente e formar combinações complementares, híbridas e aleatórias resultantes do processo de impressão. O principal objetivo é obter o maior número possível de estampas diferentes de um conjunto de matrizes e com isso, não só conciliar visualmente erotismo e anatomia humana na gravura, mas também ressaltar a variedade, como atributo dos organismos que se reproduzem sexualmente e perecem, para dar início a um novo ciclo
Abstract: This thesis is the result of a research started in the master's program and consists of the production of prints mainly from etching plates and woodcut, carved to be able to permute its shapes among them separately and create complimentary, hybrid and random combinations resulting from the printing process. The main goal is to obtain the largest possible amount of different prints from a set of plates and, with that, not only visually conciliate eroticism and human anatomy on the engraving, but also highlight the variety, as an attribute of the organisms that reproduce sexually and perish, in order to initiate a new cycle
Doutorado
Artes Visuais
Doutor em Artes

L’étude propose une nouvelle méthode pluridisciplinaire pour aborder la mort des sujets immatures, à l’appui des vestiges archéologiques provenant des cités d’Abdère, Thasos et Amphipolis. L’ « offrande » funéraire, considérée ici comme un document historique analysé dans son contexte, permet une réflexion sur la fonction de l’objet dans le rite en rapport avec une personne précise ; les résultats sont comparés en synchronie et en diachronie par sépulture et par cité. Dans ce volume qui s’inscrit dans une étude plus large visant à contribuer à l’établissement d’une anthropologie et d’une histoire de l’enfance grecque, la recherche se limite aux objets qui se réfèrent au corps, à son traitement, voire à sa perception et sa protection. Ces objets, opèrent comme des signes et forment avec le reste du mobilier un ensemble qui fonctionne comme un système évoquant l’identité sociale et le genre de l’individu. Néanmoins, une enquête anthropologique de certains cas combinée avec les données offertes par les restes de l’individu, révèlent une identité plus intime, indécise, se référant aux problèmes auxquels chaque enfant a été confronté. Comme les artefacts sont intentionnellement choisis pour accompagner des enfants réels, on saisit ainsi la place qui leur est faite suivant leur classe d’âge et on s’approche des rites qui les entourent aussi dans la vie, les rites funéraires n’étant compréhensibles que dans l’ensemble des modes d’expressions rituelles de la société. Enfin, on constate que le rapport du funéraire au religieux et au civique devient plus explicite dans la culture grecque à travers le lien étroit tissé entre l’enfant, l’animal, la plante et le paysage, c’est-à-dire le passage entre nature et culture personnifié dans le système polythéiste grec par la divinité d’Artémis
This is a new method of interpretation of “grave goods” that accompanied children in Antiquity. The term agouros, “unripe”, corresponds to the scientific understanding of the age group of the “immature”, aged 0 to 20 years : people that have not yet reached full biological development, and having unfinished pubescent body. This study, based on archaeological material in Abdera, Thasos and Amphipolis, aims to exploit the minute traces of ancient life that still remain, regaining the historical and anthropological position of the child in society. A thorough analysis of the role of the offerings that accompanied children reveals that they all construct, according to burial and cemetery, a system that refers to social identity itself, based on gender, “unmarried maiden” in particular. Some other items specialize an intimate unfinished identity, often leading to the life and problems that preoccupied the child and its environment at that age. The objects around the human body in the funeral treatment allow us to talk better about the deceased who are real people, not heroes of a tragedy. A large percentage of the "aôrai parthenoi" who died in adolescence may have actually been lost in childbirth or abortion. The customs concerning the dead can only be perceived and understood, once integrated into the whole society's value system and practices of people. The objects tied to customs, funerary practices and religion, guide us to approach children’s aspects of life in which death is also a part. These artifacts allow us to understand the inextricable relationship between child, nature, animals and the world of deities; especially Artemis, through which the ancients explain the phenomena occurring in the birth, childhood and adolescence

La théorie de l'autobiographie classique souligne que l'écriture autobiographique est une écriture sur la vie vécue passée, sur la mémoire, sur la quête de l'identité et sur l'impossibilité d'y mettre un point final. Elle en fixe également deux limites : la naissance et la mort. Dans notre thèse, nous voulons mettre en lumière une nouvelle écriture de l'autobiographie qui s'oppose à la théorie de l'autobiographie classique. L'écriture de l'autobiographie n'est plus écrite sur la vie, mais sur la mort. L'autobiographie écrit le Je à venir, au futur, sur l'instant, sur ma propre mort, sur le point final de la vie. Le point final devient le sujet de l'autobiographie, ainsi que l'imprononçable de ma propre mort et l'impossibilité de ma mort dans l'autobiographie
Conventional theoretical approach to autobiography underlines the autobiographical writing as a writing dealing with past life, memory, identity quest and dealing with the impossibility to close itself. This writing determine two boundaries : birth and death. In this thesis we wish to acknowledged a new autobiographical writing which oppose itself to it's classical practice. This autobiographical writing does not any longer applied itself on the experience of living but on the experience of dying. The autobiography spells the I to come, in the future, at this very moment, to my dying day, at the last moment of my life. This last moment become the object of the autobiography, as well as the unspeakable speech of my own death, the impossibility of my own death with in the autobiographical project

Thesis advisor: Richard M. Kearney
What is the relation between sex, death, and the divine? This question, which is of vital importance to Plato and which Freud tacitly takes up by turning to the Symposium at the end of Beyond the Pleasure Principle, can be seen as standing at the foundation of philosophy, theology, and psychoanalysis. It ought not to surprise us, then, to observe the vibrant conversation going on between Continental philosophers, theologians, and psychoanalysts today. This attempt to untangle and analyze the intersection where the “Heavenly Powers” of sex and death converge with the divine is that which allows Julia Kristeva to state, during a recent interview with Richard Kearney, that of all “the human sciences and the social sciences, the only rational approaches to human beings, psychoanalysis . . . come[s] closest . . . to the experience of faith.” It is that which enables Lacan to assert that “Saint Augustine . . . foreshadowed psychoanalysis” and to insist that psychoanalysts ought to “become versed in Augustine.” It is that which compels thinkers like Emmanuel Falque—who advise philosophers of religion to speak first and foremost about “finitude, the consciousness and horizon of death” —to write books on Freud and philosophy. And it is that which drives the work being undertaken today. The purpose of this dissertation is to approach once more the dark mystery of Eros and Thanatos which, to paraphrase Dostoevsky, forever struggle with God on the battlefield of the human heart. In order to broach this topic, I will attempt to establish a connection between carnal, bodily love and man’s relation to the divine. To do so, I will rely upon and further develop what Paul Ricoeur has called “the nuptial metaphor”—the recurring biblical motif that portrays God’s relation to man as a kind of love affair, neither reductively sexual nor legalistically marital, but passionate, romantic, protective, desirous, even jealous. Such an understanding of the connection between sexuality and spirituality is not without precedent. Consider, for example, the statement by Ignatius of Antioch from which this work derives its title—“my Eros has been crucified”—which Pseudo Dionysius reads as a supreme affirmation of divine desire. John Panteleimon Manoussakis, commenting on this link between the carnal and the spiritual, writes, “The desire for God is not independent from the desire for the other human . . . One who has not felt the latter rarely and with difficulty would seek the former.” I would add that, as Jean-Luc Marion argues in The Erotic Phenomenon, one who has felt the latter has perhaps already experienced the former, if only in a veiled way. Thus, where Freud reads the desire for God as a sublimation of the sex drives, I would suggest the opposite: erotic desire often reveals a deeper, more fundamental longing—a longing for the divine. And yet, Freud might counter, one must consider not only Eros but Thanatos. How does the desire for death factor into this religiously-inflected reading of the drives? That human sexuality implies both perversion and perfection, that it brings together man’s baseness and his beatitude, is one of the most important insights offered by Freudian drive theory. As Freud himself notes, “The highest and the lowest are always closest to each other in the sphere of sexuality.” But why this is the case remains for Freud a great mystery. Here, I would suggest, is where philosophy of religion can make an important contribution. Relying on the works of philosophers such as Manoussakis, Kearney, and Marion, theologians, in particular Hans Urs von Balthasar, and psychoanalysts such as Freud and Lacan, this work aims to both provide a possible answer to this fundamental question and to foster further dialogue between thinkers whose fields were born of similar concerns
Thesis (PhD) — Boston College, 2019
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Philosophy

This thesis focuses on the lived experience of a group of post-graduate drama students as they undergo a one year vocational Master of Arts in Acting at a major London Drama School. It attempts to understand why mature and well qualified adults sacrifice financially rewarding and secure employment in order to train for an industry in which they have little chance of even a subsistence level of paid employment in the years following graduation. The project was conducted from a non-positivistic basis where knowledge, truth and reality are seen as the subjective, context-bound, normative and political products of a social community, and not as the value-neutral products of a disinterested researcher. The research design was based on a series of 14 extended semi-structured interviews with current and ex-students, formal participant observation over a period of a year, and both formal and solicited documentary evidence covering a four year period. The epistemology is phenomenological. It is a descriptive, hermeneutic, longitudinal, single case study and a reflexive commentary on the research process. Data are presented in two forms; firstly through themes and elements in relationship to the relevant literature, and secondly as a dramadocumentary screenplay, charting the experience of the students as they progress through the course. The findings suggest that the participants are searching for selfactualisation through personal integrity and a creative purpose. The research proposes that face-to-face relationships, reflexive and sensitive pedagogy, a permissive, non-judgemental ‘safe space’ and the disciplined development of the histrionic sensibility through the study of action is productive in developing individuals able to selfactualise and flourish creatively within the increasing demands and conflicting ideologies of a highly competitive creative industry.

A une époque où nous constatons la présence récurrente de l’imaginaire surréaliste dans la création artistique, se pose la question : « Pourquoi parle-t-on du surréalisme au XXIème siècle ? ». Par ailleurs, André Breton déclarait : « Le surréalisme existait avant moi et je compte bien qu’il me survive ». A partir de ce postulat, comment l’imaginaire surréaliste se construit-il ? Quelles sont les caractéristiques qui induisent sa présence avant et après le mouvement historique ? Avec l’idée initiale d’un imaginaire surréaliste lié aux notions de paradoxe, de thanatos et d’éros, assujetti au cosmos et à l’être humain, nous établissons une dialectique entre la création photographique, notamment grecque, et la pensée philosophique et psychanalytique. La théorie des surréalistes, la réflexion de Sigmund Freud et l’ouvrage Philosophie du surréalisme de Ferdinand Alquié alimentent notre interrogation sur l’esthétique de l’imaginaire surréaliste, tandis que des photographies exemplaires de Nelly’s, d’Andréas Embiricos, de Lizzie Calligas, de Takis Zerdevas, entre autres, expriment cette présence de l’esprit surréaliste dans la photographie grecque, notamment depuis 1930 et hors d’un mouvement. Dans un premier temps, l’imaginaire surréaliste comme paradoxe, incite à une réflexion autour des contradictions de l’image photographique et des apories du cosmos et de l’être humain en relation avec l’image. Dans un deuxième temps, nous proposons une réflexion de l’imaginaire surréaliste comme thanatos, dans un sens élargi, analogue à la pulsion de mort. Enfin, dans un troisième temps, nous nous intéressons à l’imaginaire surréaliste comme éros, égal à la pulsion de vie
In a time when we come across the recurrent presence of the surrealist imaginary in the artistic creation, the question arises: "Why do we speak of surrealism in the 21st century?". Moreover André Breton declared, “surrealism existed before me and I am certain that it will survive after me. ” From this postulate, how is the surrealist imaginary constructed? What are the characteristics that induce its presence before and after a historical movement? With the initial idea that the surrealist imaginary is linked to notions of paradox, of Thanatos and Eros, subject to the cosmos and the human being, we establish a dialectic between photographic creation, mainly Greek, and the philosophical and psychoanalytic thought. The theory of surrealists, the thoughts of Sigmund Freud and the book Philosophie du Surréalisme (Philosophy of surrealism) of Ferdinand Alquié nurture our reflection on the aesthetics of surrealist imaginary, while exemplary photographs of Nelly’s, Andréas Embiricos, Lizzie Calligas, Takis Zerdevas, amongst others, express this presence of the surrealist spirit in the Greek photography, especially since 1930 and outside of any movement. At first, the surrealist imaginary as a paradox, leads to a reflection on the contradictions of the photographic image, along with a study of paradoxes of the cosmos and human beings in relation to the surrealist imaginary. Then, in a second step, we propose a reflection of the surrealist imaginary as Thanatos, at a broader sense, similar to Freud's death instinct. Lastly, in a third step, we are interested in the surrealist imaginary as Eros, similar to the life instinct of the psychoanalytic theory

Thesis (M.A.)--Kutztown University of Pennsylvania, 1998.
Typescript. Abstract precedes thesis as preliminary leaves [1]-2. Source: Masters Abstracts International, Volume: 45-06, page: 2844. Includes bibliographical references (leaves 109-110).

In seguito alla recente fama riscontrata da alcuni artisti giapponesi contemporanei la cui ricerca estetica si fonda sul legame insito tra morte ed erotismo, il presente elaborato si propone di analizzare ciò che nell'ambito giapponese possa aver costituito una prima forma di rappresentazione di tale legame attraverso l'arte. Nei primi due capitoli dell’elaborato s’intende quindi procedere con un’analisi degli esempi più significativi del legame tra morte ed erotismo all'interno della produzione shunga e muzan-e, oltre che del movimento artistico ero guro nansensu e nell’arte del dopoguerra. In seguito, si andrà a delineare le influenze presenti nell'opera dei tre artisti contemporanei presi in esame. All’opera di Toshio Saeki, Suehiro Maruo e Takato Yamamoto, verranno quindi dedicati gli ultimi due capitoli dell’elaborato, al fine di far luce sulle attuali tendenze nell'ambito dell'arte giapponese contemporanea.

D'emblee, je note la difficulte de traduire le terme kabyle awal. Il englobe en effet la parole en tant qu'institution, la tradition comme valeurs d'exemples, le mythe. Il faut entendre "parole" dans son sens large. Selon certains ethnologues occidentaux-ceux qui sont hors territoires kabylele kabyle est encore un "sauvage" qui meurt dans les champs de bataille, possede un sens de l'honneur et une "symbolique" de la vie. Je tente de montrer qu'il n'en est rien. Il me faut par consequent redefinir certains termes qui ont perdu leur sens premier : honneur, symbole, tribu, clan, lignage,. . . C'est fondamentalement a travers le mythe que s'est batie la theorie freudienne de la psychanalyse : une parenthese est ici ouverte pour examiner des notions telles que le chantage a la mort, l'angoisse de castration, la pulsion de mort, la mauvaise mere, pour insister sur la necessite de reformuler ces concepts, sinon d'en forger d'autres, en fonction du groupe social kabyle considere, en fonction des relations parentales et affectives entre individus. Quant au rite, il est aborde dans sa dimension diachronique : breve retrospective des "indices" d'un rite funeraire revolu, a travers l'etude des sepultures, les diverses hypotheses emises sur la survie de l'ame. L'etude de la tombe est une transition pour une etude des principes esthetiques de la mort. Elle est un mal qui peut se transmettre a travers un objet. Il en resulte maladie, sterilite, impuissance, divorce,. . . Toujours dans l'esthetique, il convient de parcourir le temoignage local sur le theme de la mort, a travers la poesie, les charades, les chants classiques ou contemporains. La ritualite, quant a elle, des schemas standard : le corps est lave, presentifie, purifie par la parole sacree du qoran. Mais mourir, ce n'est pas toujours disparaitre. Certains defunts accedent au statut de saint. Mais il n'est pas le seul a regner parmi les vivants : humains defunts, genies, demons protegent l'individu, cependant que les malins sont des predateurs. Ils font partie de l'ordre total d'at yanni. Cette coexistence entre bio-existentiel et supra-naturel pose le probleme du devenir eschatalogique. Se confrontent deux ecoles : -le defunt est juge par dieu, -le defunt emprunte un schema circula

Cette recherche, basée sur le vécu de la maladie cancéreuse, chez l’adulte atteint d’une tumeur solide à risque mortel et à fort potentiel traumatique, étudie la pertinence de la notion de pulsion d’emprise dans son articulation à Eros et Thanatos. Elle vise à éclairer un constat clinique : la discordance entre l’évolution satisfaisante de la maladie et le ressenti subjectif péjoratif du malade et, analyser les enjeux psychiques, suivant les discours théorico-cliniques (historique, médical, philosophique, psycho-oncologique, psychanalytique). Une première partie souligne l’évolution médicale, sociétale de cette atteinte, marquée par des représentations mortifères, contrastant avec la scientificité actuelle. La notion de temporalité est étudiée, celles de la maladie cancéreuse et de ses traitements en rapport à celle du sujet. La deuxième partie aborde le champ de l’emprise dans le discours psychanalytique. L’étude clinico-théorique de situations cliniques montre la force de la pulsion d’emprise et ses valeurs contrastées dans le travail psychique du malade, marqué par la prégnance de la représentation de la mort.La troisième partie métapsychologique décrit la conflictualité entre les instances psychiques, le corps et le cancer. L’analyse du pulsionnel et particulièrement de la pulsion anarchiste interroge l’articulation entre la pulsion d’emprise et la pulsion de vie sans oublier le nouage de cette dernière à la pulsion de mort. Le rapport entre le moi-corps et le médium malléable est questionné.L’hypothèse de la valeur de l’emprise est étudiée comme un aménagement nécessaire, temporaire avant l’acceptation par le moi des pertes induites par le cancer
This research, based on the experience of cancer disease, in adult patients with solid tumors at deadly risk and potential trauma, studies the relevance of the concept of right of way in its drive joint Eros and Thanatos. It aims to inform clinical observation: the discrepancy between the satisfactory evolution of the disease and the subjective feeling pejorative patient and analyze the psychological issues, according to the theoretical and clinical speech (historical, medical, philosophical, psycho-oncology, psychoanalytic). The first part stresses the medical evolution, this social achievement, marked by deadly performances, contrasting with the current scientific. The concept of temporality is studied, those of the cancer disease and its treatment in relation to that of the subject. The second part addresses the influence of the field in the psychoanalytic discourse. Clinical and theoretical study of clinical situations shows the strength of the grip and drive its contrasting values in the psychological work of the patient, marked by the predominance of the representation of death. The third part describes the metapsychological conflict between the psychic instances, the body and cancer. The analysis of the drive and especially the anarchist impulse questioned the link between the drive and grip the life instinct not to mention tying the latter to the death drive. The relationship between bodily and the pliable medium is questioned. The assumption of the value of the grip is studied as a necessary development, temporary before acceptance by me of losses induced by cancer

My thesis investigates the antithetical movements of self-destruction and of self-creation in a selection of works by Jack Kerouac and Allen Ginsberg. In order to shed light on this paradox, I use the mythological figure of Thanatos, which is conceptualised as a principle of death within life as well as one of life within death. The figure of Thanatos will enable me to trace the ways in which various strategies in the writings both create, and destroy, the texts on multiple levels. I work with two distinct critical methods to illuminate these paradoxical movements. In the first part of the thesis, the analysis is foregrounded in a combination of French Existentialist theory with precepts from the American Transcendentalist tradition in order to define an American variant of Existentialism. This framework allows the trope of alienation, and its impact on both self and text in Big Sur [1962], to come to the fore. Big Sur is read as a novel that plays on motifs of self-destruction in an unprecedented way in Kerouac’s writing. In ‘Ginsberg’s ‘Howl’ [1956], the figure of Moloch is interpreted as a principle of nothingness in the poem. Moloch is understood in relation to various forms of engagement both Existentialist and transcendental in essence. In Part 2, Kerouac’s Tristessa [1960] is analysed from the perspective of the Kantian Sublime. In Tristessa, the narrator’s desire for the eponymous heroine emanates from the projection of a romanticised form of deathliness that channels the Sublime, and that threatens the self and the text in return, thereby conjuring the paradox of Thanatos.

xiii, 136 p. : ill. (some col.)
The Demosion Sema ["Public Tomb"] was an area of the Kerameikos in Athens that in the 5th and 4th centuries BCE functioned as the state burial ground--the repository of mass graves for those who had lost their lives in war. In an annual ritual known as the patrios nomos ["the ancestral custom"], the war-dead were eulogized and publicly mourned. Their mass graves [ polyandria ] were regularly marked by marble monuments with reliefs of soldiers in combat, under which the names of the dead were listed according to their tribe, but without demotic or patronymic information. This thesis explores the various aspects of the patrios nomos and the iconography of the funerary monuments of the state burial ground. By analyzing features of the ritual, such as the attendant funeral orations ( epitaphios logos ), and aspects of the imagery found in the polyandria , we are able to learn not only about the function of the Demosion Sema within the Athenian polis but also how Athenians mourned and remembered their war-dead within the context of a democratic ideology.
Committee in charge: Jeffrey M. Hurwit, Chairperson; James Harper, Member; Christopher Eckerman, Member

The aim of this thesis is to examine ritual action and identity formation in the funerary record of the South-Eastern Aegean during the Hellenistic period (late 4th – 1st centuries BC). Chapter 1 presents the aim, scope, originality, research context and methodology of the thesis. Chapter 2 provides the geographical background of the thesis along with the topographical features of the tombs and the cemeteries followed by a discussion on the deathscapes of the South-Eastern Aegean in Hellenistic times. Chapter 3 is a concise typological analysis of the tomb types in the islands and the mainland cities of the Rhodian peraea and Chapter 4 offers a contextual look into funerary and post-funerary ritual drawing from various types of evidence such as modes of disposal of the human body, monumental tomb architecture (tombs with funerary beds) and funerary monuments (cylindrical altars with decorations in relief) among others. In Chapter 5, I discuss several manifestations of individual and collective identity as inferred by the archaeological record, as far as this is possible, followed by a brief assessment of insularity and identity in the Hellenistic communities of the South-Eastern Aegean. Finally, chapter 6 offers a synopsised outline of the main themes explored in the thesis along with general and specific conclusions.

Cette étude tente une approche de certaines oeuvres esthétiques à partir de plusieurs disciplines telles que l'esthétique, la philosophie et l'analytique, disciplines qui convergent et se rejoignent au mieux pour l'exploration fondamentale d'une oeuvre d'art. Dans cette ouverture nous proposons une problématique différente qui nous semble à l'oeuvre au coeur de certaines grandes oeuvres esthétiques. Celle-ci est portée par la figure archaïque du tenseur Eros/Thanatos dont l'origine immémoriale confère à ce dernier une valeur transdisciplinaire. Notre corpus s'établit autour de quatre oeuvres artistiques qui constituent les « pivots » de soutènement de notre étude, ainsi dans l'ordre des oeuvres analysées : la toile « la tempête » du vénitien Giorgione, la fresque intitulée « La Madone del Parto » du florentin Piero della Francesca, suivie de la sculpture en bois « La Madeleine » du baptistère de Florence exécutée par Donatello et enfin, l'oeuvre inachevée de Léonard de Vinci intitulée « Saint-Jérôme ». Notre méthode d'analyse consiste à retrouver et vérifier l'existence du tenseur Eros/Thanatos et le sens fondamental des oeuvres esthétiques dans le XVème siècle italien. Notre dessein est de parvenir à montrer qu'à travers l'art, c'est de l'homme et de son rapport à la naissance, à la vie et à la mort dont il s'agit

Nuestra tesis pretende exponer la relación entre las Políticas del Cuerpo, utilizadas por parte del Poder como medio de construcción y coerción de los cuerpos, del sexo y del género, y, por el contrario, cómo las creaciones culturales a las que denominamos Figuras del Exceso suponen una manifestación de placeres transgresores que ponen en entredicho la naturaleza misma de los mecanismos de abuso del poder. Estas fuerzas antagónicas se ejercen sobre el campo de batalla que es el cuerpo; por lo tanto, y en primer lugar, es preciso contextualizar el cuerpo en relación con las políticas que sobre él actúan en las diferentes épocas del siglo XX analizadas. El cuerpo ocupa y habita un lugar en variados espacios, no sólo en su ámbito privado, o en lo meramente físico/psíquico, sino que también es sujeto y objeto en los espacios sociales, políticos, culturales, científicos, médicos, religiosos, etc. Este cuerpo es una sede de experimentación donde actúan dichos ámbitos, que regulan tanto las sensaciones e experiencias íntimas e individuales como las públicas y colectivas, mediante leyes, normas, interdictos y etiquetas corporales de interacción del individuo con la sociedad, dictadas e instauradas por las Políticas del Cuerpo. Esto supone la pérdida o desposesión de la identidad privada; el individuo se siente vigilado, deseado, sometido, manipulado, rechazado en y por su cuerpo; pendiente no de sus deseos sino de la escrutadora mirada de los otros que lo definen, construyen o destruyen ideológica, social, cultural y sexualmente. En segundo lugar, analizamos a los artistas, escritores y pensadores que han cuestionado las construcciones socioculturales acerca del sexo, género, identidad, raza y/o ideología determinadas desde la hegemonía del conservadurismo y fundamentalismo moral. Sus creaciones las hemos definido como Representaciones de Sexualidades Extremas en el Arte.
Santamaría Blasco, ML. (2008). Figuras del exceso y políticas del cuerpo. Riesgos, prejuicios y represión de la visibilidad de los placeres. Representaciones de sexualidades extremas en el arte y la cultura del siglo XX [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/3443
Palancia

Sophia de Mello Breyner Andersen, Porto 1919 Lisboa, 2004, importante poeta portuguesa do século XX, absorveu, em sua obra, uma influência muito intensa da cultura clássica grega. Em seus livros de poesia, apresentou um constante e intenso diálogo com alguns mitos da Grécia Antiga. Esta dissertação parte da constatação de que o mito de Thânatos, nas suas mais variadas figurações, dialoga intensamente com a poesia de Sophia Andresen, criando uma atmosfera melancólica e nostálgica. O presente trabalho divide-se em três capítulos: Thânatos: O Tempo e a Memória, Thânatos: Noite e Thânatos: do Minotauro as Fúrias.
Sophia de Mello Breyner Andresen, Porto, 1919 Lisboa 2004 was an important Portuguese poet from the 20th Century. She absorbed a very intense influence from the classic Greek culture in her work. In her poetry books she presents us a constant and intense dialog with some myths from the Ancient Greece. This dissertation begins from the findings that the myth of Thanatos, in its most various pictures, maintains an internal dialog with Sophia Andresens poetry, building up a nostalgic and melancholic atmosphere. This paper is divided in three chapters Thanatos: Time and Memory, Thanatos: Night and Thanatos: Minotaur and the Furies.

La problématique de la célébration des funérailles chrétiennes dans un contexte de double appartenance religieuse chez les Baoulés de Côte d’Ivoire permet d’axer la réflexion sur la théologie de l’inculturation de la foi. En reconsidérant par ailleurs le concept de la double appartenance, on peut soutenir que celui-ci devient une exigence de l’inculturation comprise comme une « dramadialogie ». Elle s’inscrit dans une logique de dialogue, entre le christianisme et les croyances religieuses baoulées, au cours duquel les éléments de la culture baoulée meurent à leurs non valeurs en vue d’une résurrection transfiguratrice. Mais en même temps, cette culture, en accueillant ce message, enrichit le patrimoine ecclésial. La réappropriation du discours théologique chrétien sur la mort et la ritualité funéraire, à partir d’un horizon de sens africain, est la particularité de cette construction théologique, qui est à situer également à l’intérieur de ce même champ sémantique du processus de l’inculturation vue comme une « dramadialogie ». On n’oubliera cependant pas de souligner que toute cette trajectoire de théologie thanatique inculturée, éclairée par l’actualité du mystère pascal doit s’ouvrir aussi à la catholicité pentecostale de l’Église
The question of the celebration of Christian funerals in a context of dual religious affiliation among the Baoulés of Côte d'Ivoire obliges us to focus our reflection on the theology of the inculturation of faith. On reconsidering moreover the concept of dual affiliation, it can be argued that this notion becomes a requirement of inculturation understood as a "dramadialogy". It fits into a logic of dialogue between Christianity and Baoulé religious beliefs in the course of which the elements of the Baoulé culture die off to their non-values for a transfigurative resurrection. But at the same time, by welcoming this message, this culture enriches the heritage of the Church. The reappropriation of the Christian theological discourse on death and funeral rituals from a perspective of African sense is the peculiar feature of this theological construction which is also to be situated within the limits of this same semantic field of the process of inculturation seen as a "dramadialogy". We should not forget, however, to point out that this entire trajectory of inculturated thanatic theology, enlightened by the actuality of the paschal mystery, must also open up to the Pentecostal catholicity of the Church

[ES] En la presente investigación hemos planteado como objetivo mostrar el proceso de composición de música propia del autor de la tesis, basada en la práctica y el conocimiento de la música tradicional griega. Para llevar a cabo este trabajo, se precisa conocer la música tradicional y sus procesos de creación según la transmisión oral. La notación de la música clásica europea, aunque es una herramienta imprescindible, no es suficiente para describir por completo los procesos interpretativos y las características sonoras y plurimodales de la música griega, empleadas en las presentes composiciones. Cada ejemplo musical compuesto para esta tesis se acompaña por una grabación. Para realizar estas composiciones, se ha seguido un proceso investigativo que ha englobado varias etapas metodológicas: investigación teórica basada en fuentes bibliográficas y audiovisuales, conocimiento del proceso de la transmisión oral mediante el contacto directo con informantes e inmersión en la praxis musical de la música tradicional griega. Las composiciones se han realizado empleando ritmos y modos de la música tradicional griega y se han clasificado en cuatro categorías. 1. composición musical con instrumentos atemperados, influenciada por la música tradicional. 2. composición musical con instrumentos temperados, influenciadas por la música tradicional. 3. composición de música basada en las características, formas y estructuras musicales de la música tradicional. 4. proceso de la improvisación, tal como surgió en tres grabaciones audiovisuales en las que participó el autor como intérprete. Además, se han estudiado composiciones tradicionales a través de transcripciones realizadas por el autor de la tesis, anotando las ornamentaciones y las notas atemperadas. La presente investigación se divide en dos partes: la primera parte constituye la base teórica sobre la música tradicional griega y se halla dividida en siete capítulos; la segunda parte consiste en el análisis de la música propia compuesta por el autor de la tesis y la clasificación de esta en cuatro categorías. Como fruto de esta investigación, se han extraído varias conclusiones referentes a los procesos creativos empleados para las composiciones presentadas y se han definido tres métodos compositivos según el uso de la notación y el empleo de las características de la transmisión oral: - Composición sin el uso de la notación: improvisación sobre un pedal o una secuencia o composición realizada de forma mental sobre el instrumento musical. - Composición con el uso de notación básica: la notación es un esquema melódico para coordinar a los intérpretes durante la interpretación de música en conjunto. Precisa conocer las características de la música tradicional como son las ornamentaciones, el estilo empleado, variaciones instrumentales y notas atemperadas. - Composición con el uso de notación detallada: música compuesta para ser interpretada de forma literal. Un método compositivo proporcionando música distinta a la música tradicional. Las ornamentaciones y las variaciones melódicas en las repeticiones de melodías están anotadas. El autor de la tesis ha compuesto ritmos de amalgama basados en ritmos tradicionales que proporcionan una nueva dinámica compositiva. El uso y el conocimiento de la sonoridad, timbre y técnica de los instrumentos tradicionales no temperados puede otorgar características del “espíritu” tradicional en la realización de una composición. La variabilidad del material interpretado es un rasgo primordial observado en la praxis realizada por músicos tradicionales, en la que cada repetición de una melodía se realiza casi siempre de forma diferente. La improvisación es una práctica indispensable perteneciente al carácter de la música tradicional y se puede emplear para acompañar la danza, realizar respuestas instrumentales al canto o crear nueva música. La armonización de las melodías modales se puede observar a través del estudio del trabajo de los guitarristas griegos en grabaciones de los años 30, tal como se presenta mediante transcripciones realizadas especialmente para esta tesis. Como futura línea de trabajo, se seguirá investigando la síntesis entre la música tradicional griega y el conocimiento de la música clásica europea.
[CA] En la present investigació hem plantejat com a objectiu, presentar el procés de composició de música pròpia de l'autor de la tesi, basada en la pràctica i el coneixement de la música tradicional grega. Per dur a terme aquest treball, cal conéixer la música tradicional i els seus processos de creació segons la transmissió oral. La notació de la música clàssica europea, tot i que és una eina imprescindible, no és suficient per a descriure completament els processos interpretatius i les característiques sonores i plurimodales de la música grega emprades en les presents composicions. Cada exemple musical compost per a aquesta tesi s'acompanya d'un enregistrament. Per realitzar aquestes composicions, s'ha seguit un procés investigatiu que ha englobat diverses etapes metodològiques: investigació teòrica basada en fonts bibliogràfiques i audiovisuals, coneixement del procés de la transmissió oral mitjançant el contacte directe amb informants i immersió en la praxi musical de la música tradicional grega. Les composicions s'han realitzat emprant ritmes i maneres de la música tradicional grega i s'han classificat en quatre categories. 1. composició musical amb instruments temperats, influenciada per la música tradicional. 2. composició musical amb instruments temperats, influenciades per la música tradicional. 3. composició de música basada en les característiques, formes i estructures musicals de la música tradicional. 4. procés de la improvisació, tal com va sorgir en tres enregistraments audiovisuals en què va participar l'autor com a intèrpret. A més, s'han estudiat composicions tradicionals a través de transcripcions realitzades per l'autor de la tesi, anotant les ornamentacions i les notes temperades. La present investigació es divideix en dues parts: la primera part constitueix la base teòrica sobre la música tradicional grega i es troba dividida en set capítols; la segona part consisteix en l'anàlisi de la música pròpia composta per l'autor de la tesi i la classificació d'aquesta en quatre categories.Com a fruit d'aquesta investigació, s'han extret diverses conclusions referents als processos creatius emprats per a les composicions presentades i s'han definit tres mètodes compositius segons l'ús de la notació i l'ocupació de les característiques de la transmissió oral: - Composició sense l'ús de la notació: improvisació sobre un pedal o una seqüència o composició realitzada de forma mental sobre l'instrument musical. - Composició amb l'ús de notació bàsica: la notació és un esquema melòdic per coordinar als intèrprets durant la interpretació de música en conjunt. Necessita conéixer les característiques de la música tradicional com són les ornamentacions, l'estil emprat, variacions instrumentals i notes temperades. - Composició amb l'ús de notació detallada: música composta per a ser interpretada de manera literal. Un mètode compositiu proporcionant música diferent de la música tradicional. Les ornamentacions i les variacions melòdiques en les repeticions de melodies estan anotades. L'autor de la tesi ha compost ritmes d'amalgama basats en ritmes tradicionals que proporcionen una nova dinàmica compositiva, i ha transcrit per a aquesta tesi enregistraments dels anys 30 de guitarristes grecs per estudiar l'harmonització de les melodies modals. . L'ús i el coneixement de la sonoritat, timbre i tècnica dels instruments tradicionals temperats pot atorgar característiques de l ' "esperit" tradicional a la realització d'una composició. La variabilitat de l'material interpretat és un tret primordial observat en la praxi realitzada per músics tradicionals, en què cada repetició d'una melodia es realitza gairebé sempre de forma diferent. Finalment, la improvisació és indispensable en la música tradicional i es pot emprar per acompanyar la dansa, realitzar respostes instrumentals a el cant o crear nova música.
[EN] In this research we have established the objective of presenting the process of composing the author's own music, based on the practice and knowledge of traditional Greek music. To carry out this work, it is necessary to have knowledge of traditional music and its creation processes according to oral transmission. The notation of European classical music, although it is an essential tool, is not sufficient to fully describe the interpretive processes and the sonic and multimodal characteristics of Greek music used in the present compositions. Each musical example composed for this thesis is accompanied by a recording. In order to create these compositions, a research process has been followed that has encompassed several methodological stages: theoretical research based on bibliographic and audiovisual sources, knowledge of the process of oral transmission through direct contact with informants and immersion in the musical praxis of traditional music Greek. The compositions have been made using rhythms and modes of traditional Greek music and have been classified into four categories. 1. musical composition with tempered instruments, influenced by traditional music. 2. musical composition with tempered instruments, influenced by traditional music. 3. composition of music based on the characteristics, forms and musical structures of traditional music. 4. improvisation process, as it arose in three audiovisual recordings in which the author participated as a performer. In addition, traditional compositions have been studied through transcriptions made by the author of the thesis, noting ornamentation and tempered notes. This research is divided into two parts: the first part constitutes the theoretical basis on traditional Greek music and is divided into seven chapters; The second part consists of the analysis of the own music composed by the author of the thesis and the classification of this in four categories. As a result of this research, several conclusions have been reached regarding the creative processes used for the compositions presented and therefore three compositional methods have been defined according to the use of notation and the use of the characteristics of oral transmission: - Composition without the use of notation: improvisation on a pedal or a sequence or composition performed mentally on the musical instrument. - Composition with the use of basic notation: the notation is a melodic scheme to coordinate the interpreters during the performance of music together. It¿s important to know the characteristics of traditional music such as ornamentation, the style used, instrumental variations and tempered notes. - Composition with the use of detailed notation: music composed to be interpreted literally. A compositional method providing music different from traditional music. The ornamentations and melodic variations in the melody repetitions are noted. The author of the thesis has composed amalgam rhythms based on traditional rhythms that provide new routes of composition, and has transcribed for this thesis recordings from the 30s by Greek guitarists in order to study the harmonization of modal melodies. The use and knowledge of the sound, timbre and technique of tempered traditional instruments can provide characteristics of the traditional "spirit" in the realization of a composition. The variability of the material played is a primary feature observed in the practice performed by traditional musicians, in which each repetition of a melody is almost always performed differently. Finally, improvisation is indispensable in traditional music and can be used to accompany dance, perform instrumental responses to singing, or create new music.
Kaniaris, S. (2021). Ritmos y modos de la música tradicional griega en la creación musical: investigación a través de la práctica y la composición [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/171757
TESIS

碩士
國立成功大學
外國語文學系碩博士班
94
Abstract Since Frantz Fanon’s Black Skin, White Masks, there has been a theoretical trend to study post-colonial subjectivity from a psychoanalytical approach. Lots of inks, from such writers as Homi Bhabha and Robert Young, have also been spilled on this issue. Based on their works, this thesis specifically focuses on how the flow of radical desires shapes post-colonial subjectivity in the post-colonial context. This thesis is divided into two parts. The first part deals with the features of traditional and transgressive cathexis and the second part the circulation of the post-colonial Eros and Thanatos. The earlier section of the first part examines how Freud’s traditional cathexis shapes a Self-oriented identity with its simultaneous desires of Eros’ narcissistic projection and Thanatos’ aggressive Self-oriented Otherness. This is the repressive identity which composes the very reality of colonial violence. The latter section of this part revises traditional cathexis into transgressive cathexis, underpinned by post-modern politics (Deleuze and Guattari’s desiring machine) and post-modern ethics (Levinas’ Absolute Other). As a pre-ego cathexis, transgressive cathexis channels the post-colonial desires toward the Absolute Other anterior posteriorly. That is, this is a longing for the object of home where the Absolute Other resides and each otherness of the post-colonial subject could be recognized and emancipated from the past repressed cultural relations. However, since the Self-Other relation is asymmetrical, this longing of reciprocal recognition cannot be fulfilled. Transgressive cathexis accordingly leads the post-colonial subject to cathect this object of home, which is always out of joint but to come. It is a way of re-routing the lost root, the lost homeland. The beginning of the second part explores how the overflow of transgressive cathexis shapes a deconstructive post-colonial identity by a double desire, the post-colonial Eros, as a desire to join, and the post-colonial Thanatos, as a desire to disjoin. Then, this second part is further divided into two sections to study the mechanism of the post-colonial Eros/Thanatos and its theoretical application in V.S. Naipaul’s A Bend in The River and Salman Rushdie’s The Moor’s Last Sigh. The earlier section of this part maintains that the post-colonial Eros extends Eros’ mechanism of the protective shield as a process of making difference into sameness and turning sameness into difference, shaping a hybrid identity. In both novels, multiculturalism is the rosy picture of the comforting home that the post-colonial Eros leads Salim and the Moor to pursue in the national identity of the colonized’s country. In this process, their desire cathects and then de-cathects this love object, national identity, leaving their identity fragmented and national identity problematic. The latter section deals with the pos-colonial Thanatos’ compulsive repetition of difference, shaping diaspora identity as a desire to disjoin. In both novels, this disjoining desire of the post-colonial Thanatos through memory repeatedly drives both Salim and the Moor to respond to the lost homeland as an act to disjoin from any cultural identities imposed by the colonizer’s country. Either Salim’s act of forgetting or the Moor’s act of remembering cannot fully erase or reclaim the past, the imaginary homeland. Their identity-shaping, haunted by the return of imaginary homeland, thus disseminates the past relentlessly and makes the ghetto cultural identity more resilient. In the conclusion, I will conclude that the double desires of transgressive cathexis, the post-colonial Eros/Thanatos, pave a line of flight for the post-colonial subject toward the imaginary homeland over there, out-of-joint but to come.

Zygmunt Bauman and other postmodernists have argued that postmodernity is characterized by the disintegration of the legitimacy and authority of what has been referred to as grand narratives or "illusions." These theorists often highlight the manipulative and obfuscating effects of illusion. As such, scholars like Bauman contend that postmodernity sets the stage for sincere, moral responsibility. However, they fail to acknowledge that these illusions provide a cultural and social function through their satisfaction of human needs. Failing to fully acknowledge the importance of this function and human needs in general leads many postmodern theorists to be unable to adequately theorize about the contemporary epoch. In addition to the weakening authority of grand illusions, the advent of technologically advanced society coincided with the process of desublimation (a process by which instant gratification occurs). Desublimation worked to undermine what Sigmund Freud has referred to as the life instincts by promulgating false needs (i.e., wants or desires perceived as needs). As such, contemporary society may be depicted as constituting anomic, atomistic individuals seeking self-preservation. This process may be delineated as the death instincts, or Thanatos, as coming to triumph over the life instincts, Eros. A Thanatos society has significant implications for moral responsibility. The diminution of sincere emotional integration facilitates the unbridled spread of postemotionalism into more and more spheres of social life. As postemotional scripts become the prevailing moral guidelines, Thanatos manifests itself as a compulsion to repeat destructive behavior at the societal and individual level. Society and its members struggle in their attempts to choose the "right" course of action. Confusion and fear become affixed features of personal and social life and morality becomes an arbitrary endeavor.

碩士
國立中興大學
台灣文學與跨國文化研究所
107
Chang Tso-Chi ''s film is good at capturing the life of Taiwan''s ordinary people. His creative features and shooting techniques have his own personal characteristics. This thesis uses his two films, "When Love Comes," and " Thanatos, Drunk." The Dream of Death is an object of analysis and discussion of female images in the works of two films. First of all, with the text "When Love Comes", explore how male director Chang Tso-Chi can reproduce the image of female characters in the family under the patriarchal system. How can he use his unique style to present the pictures of the two mothers and daughters in the family? Like, and analyze the image and meaning of such female images. Then take " Thanatos, Drunk." "Dream of Life" is a text, in addition to analyzing the image of the mother, and extends to other female images, such as the dumb support sister and Ren Shuo''s girlfriend. In addition to exploring how Chang Tso-Chi built a multi-faceted female image, he further explored the hidden meanings of female images and Chang Tso-Chi ''s thinking about the nature of life. The purpose is to further explore the dialogue between female images and life and modern society in Taiwan by arranging the image and meaning of female images in Chang Tso-Chi ''s films.

Key Words: Comparatistics, Intertextuality, Essayism, Esem, Milan Kundera, Ričardas Gavelis, Laughter, Kitsch, Vulgarity, Carnevalism, Thanatos, Sexuality This comparativist thesis discusses the intelectual novel of the end of the 20th century. The study objects chosen for this paper were the works of Ričardas Gavelis and Milan Kundera. Due to the differences in the poetics of the works, it was chosen to analyze four works of each writer's large prose. In the case of Gavelis they are as follows: Vilnius Poker (Vilniaus pokeris, novel, 1989), Vilnius Jazz (Vilniaus džiazas, novel, 1993), The Last Generation of People on Earth (Paskutinioji Žemės žmonių karta, novel, 1995) and Six Ways of Suicide (Septyni savižudybės būdai, novel, 1999). From Kundera's works we picked out The Farewell Party (Valčík na rozloučenou, novel,1972), The Book of Laughter and Forgetting (Knihou smíchu a zapomnění, novel, 1978), The Unbearable Lightness of Being (Nesnesitelnou lehkostí bytí, novel, 1984) a Immortality (Nesmrtelnost in french, 1990, in czech 1993). One of the main aims of this study is to introduce the Czech reader to Ričardas Gavelis: one of the most important and influential writers of Lithuanian literature of the late 20th century. The works of this writer are not yet properly evaluated even in his native...

O presente estudo pretendeu conhecer o modo como o conceito de segredo é abordado em diferentes textos da literatura portuguesa. O corpus do trabalho é constituído por contos de expressão e transmissão oral e contos de um autor do século XX, Miguel Torga. Após reflectirmos sobre o conceito de segredo e apontarmos os aspectos relevantes da sua esfera semântica, investigámos a forma como o mesmo é tratado nos dois tipos de narrativas. Pudemos verificar que nos contos de expressão e transmissão oral, concretamente nos contos maravilhosos, o segredo está predominantemente associado ao interdito e à transgressão, elementos essenciais à estruturação destas narrativas e conducentes à aprendizagem e maturação do(s) herói(s). Já nos contos de Torga a sua abordagem está ligada ao drama existencial do ser humano e, nesse sentido, radica-se no indivíduo e nas questões relacionais com que este se depara, tanto na esfera pessoal como interpessoal. Após este trabalho preliminar, procedemos a uma análise comparativa global entre os dois tipos de narrativas em estudo, com vista a identificar ecos e ressonâncias , ou a reconhecer dissemelhanças, estabelecendo pontes e/ ou confrontos. O objectivo desta parte à qual chamámos síntese contrastiva foi, portanto, extrair ilações que nos permitissem concluir sobre fenómenos de identidade e/ ou variação temática do segredo entre os dois tipos de textos narrativos; uns enraízados na oralidade, produto de um fenómeno colectivo e intertextual, os outros resultantes de um trabalho individual consagrado e perfeitamente delimitado no tempo e no espaço. Verificámos que, apesar das diferenças incontestáveis, também podemos encontrar semelhanças, pois as narrativas de Torga conseguem actualizar noções e valores presentes nos contos de expressão e transmissão oral.
The present research intends to explore the way the notion of secret is approached in several works within portuguese literature. The corpus of the thesis is mostly composed of oral expression and/ or transmission stories and stories by a 20th century author, Miguel Torga. Upon reflecting on the concept of secret and pointing out its semantics universe s most important features, we investigated the way it s handled on both narratives. We then came to verify that in oral transmitted stories and tales particularly the ones called contos maravilhosos (wondrous tales) the notion of secret is mainly attached to the ones of that which is forbidden and of violation, essential elements of these kinds of narrative, leading to the nurturing, learning process and maturing of the hero(es). The tales of Miguel Torga, on the other hand, deal mostly with the anguish of living of the human being and, in that regard, focuses on the individual and their relating issues whether personal or inter-personal. Once done with this preliminary study, we moved forward into a general comparative analysis between both narratives being worked here, so as to find echoes and rings or acknowledging differences, establishing bridges and/ or confrontations. The goal for this part which we named contrastive synthesis was to obtain deductions that would allow us to reach conclusions concerning identity phenomena and/ or theme variation of the secret on both kinds of narrative; whether deeply rooted in spoken tradition or resulting of an acknowledged individual work, absolutely marked out in time and space. We confirmed that, despite the many obvious differences, there s also place for similarities, since Torga s tales manage to update notions, values and concepts already presented on the oral transmitted and expressed ones.