Добірка наукової літератури з теми "Tony (1931-...)"

This study explores the relationship between the Yugoslav ideology as exhibited in Serbian music magazines published between the two world wars. These are the following journals: Music (1928-1929), Bulletin of the Music Society ?Stankovic? (1928-1934, 1938-1941; in January 1931 it was renamed The Musical Gazette), The Sound (1932-1936), Herald of the South Slavic Choral Union (1935-1936, 1938), Slavic music (1939-1941) and Review of Music (1940). I have excluded the magazine Musical Gazette (1922) from consideration because I have already discussed its ideological aspects in an earlier article (2009). Yugoslav topics in interwar music periodicals are addressed in an ecstatic tone by the music writers and editors (particularly immediately after the foundation of the Kingdom of Serbs, Croats and Slovenes); one also observes open dissent and criticism of undesirable, wasted tendencies. Signs of profound differences with respect to the fundamental aspect of Yugoslav ideology - i.e. on the question of the nature and degree of the unity of nations under the auspices of the ideology, appeared relatively early in these journals. I argue that three elements: open enthusiasm, criticism/polemic and fundamental differences, constituted a framework within which the Yugoslav ideology was expressed in the Serbian musical periodicals. The third aspect has proved to be crucial. One could observe two different and even opposing views on the Yugoslav ideology. While some musicians strongly advocated integral Yugoslavism, others wanted the preservation of distinctive national features within this ideology. This division is illustrated by the writings of Croatian composer and ethnomusicologist Bozidar Sirola and Serbian composer and music critic Milenko Zivkovic. The division in question culminated in the case of the South Slavic Choral Union, which Croatian Choral Union refused to join. Hence, Serbian music periodicals provide an insight into the fundamental ideological and political problem of the Kingdom of Yugoslavia.

En este estudio analizaremos el recorrido de los católicos reaccionarios a partir de la Guerra de Independencia y su cambio de antinacionales a nacional-católicos hasta convertirse en fascistizados en el periodo entre la Guerra Civil y el estallido de la Segunda Guerra Mundial. En ese sentido cabe destacar la labor de José Pemartín. La centralidad del estudio la ocupan tres temas contenidos en su obra más importante, Qué es lo Nuevo: la diferencia de matices con respecto a los valores expresados por otros intelectuales nacional-católicos anteriores y contemporáneos a él; la tentativa de conciliar el ideario nacional-católico con las ideas falangistas; y la doctrina fascista. Palabras clave: nacional-catolicismo, fascismo, monarquismo, institucional, circunstancial, tradicionalismo.Topónimo: EspañaPeríodo: Siglo XX ABSTRACTThis study analyses the path traversed by Catholic reactionaries after the War of Independence and their transition from antinational to National Catholic until they converted to Fascism during the period between the Civil War and the outbreak of World War Two. In this respect, it is worth highlighting the work of José Pemartín. This study mainly focuses on three themes in his most important creation, Qué es lo Nuevo: the differences in tone in comparison with the values expressed by both earlier and coetaneous National-Catholic intellectuals; the attempt to reconcile National-Catholic ideology with Falangist thinking; and Fascist doctrine. Keywords: Nacional-Catholism, Fascism, monarchism, institutional, circumstantial, traditionalismPlace names: SpainPeriod: Siglo XX REFERENCIASÁlvarez Junco, J. 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Este texto tem por objetivo analisar parte dos debates criminológicos acerca da pena de morte no Rio de Janeiro nos anos 1930, com especial atenção para o conteúdo e maneira como os saberes biomédicos e psicológicos foram mobilizados. O recorte se justifica pelo aumento do debate sobre o assunto na ambiência intelectual médico-jurídica do período, sobretudo entre 1934 e 1939. Centraremos nossa análise nos posicionamentos dos membros da Sociedade Brasileira de Criminologia (SBC), e no conteúdo do livro do advogado Jurandyr Amarante, A Pena de Morte (1938). Tal análise é feita com a inscrição e cotejamento de seus posicionamentos em meio a comunidade de debate da qual fazia parte. Procura-se, por um lado, perceber quais as ideias e noções biológicas e psicológicas mobilizadas na oposição e a favor da pena de morte, com ênfase no tema da (in) corrigibilidade dos criminosos e mostrar de que maneira o tema trazia à tona posicionamentos políticos gerais e específicos juristas e médicos.

When James Baldwin in No Name in the Street discusses the case of Tony Maynard, who had been imprisoned in Hamburg in 1967, he emphasizes that his efforts to aid his unjustly imprisoned friend were greatly supported by his German publishing house Rowohlt and, in particular, by his then-editor Fritz Raddatz (1931–2015). While the passages on Maynard remain the only instance in Baldwin’s published writings in which Raddatz—praised as a courageous “anti-Nazi German” and a kindred ally who “knows what it means to be beaten in prison”—is mentioned directly, the relation between Baldwin and Raddatz has left traces that cover over fifty years. The African-American writer and Rowohlt’s chief editor got to know each other around 1963, when Baldwin was first published in Germany. They exchanged letters between 1965 and 1984, and many of Raddatz’s critical writings from different periods—the first piece from 1965, the last from 2014—focus of Baldwin’s books. They also collaborated on various projects—among them a long interview and Baldwin’s review of Roots—which were all published in the German weekly newspaper Die Zeit, where Raddatz served as head of the literary and arts sections from 1977 to 1985. Drawing on published and unpublished writings of both men, this article provides a discussion of the most significant facets of this under-explored relationship and its literary achievements. Thereby, it sheds new light on two central questions of recent Baldwin scholarship: first, the circumstances of production and formation crucial to Baldwin’s writings of the 1970s and 1980s, and secondly, Baldwin’s international activities, his transcultural reception and influence.

The article provides close readings of a series of book reviews of Vasić’s Vinča publications in the journal MAN of the Royal Anthropological Institute in Britain written in the 1930s by Russian and Eastern European studies expert and Cambridge-based archaeologist Sir Ellis Hovell Minns, including his unpublished notes and annotations of the volumes that are kept in the Cambridge University Library. In three installments, first in 1933 and then twice in 1937, Minns reviewed Miloje Vasić’s seminal four volumes of Preistoriska Vinča I-IV, which were published in 1932 and 1936. In these reviews Minns gives his own interpretation of the dating and significance of the site of Vinča-Belo Brdo near Belgrade, but also echoes the majority opinion of leading experts about the finds at the time. The reviews, which have not previously been discussed in literature, provide penetrating glimpses for the history of archaeological thought, especially in Serbia, and reveal important aspects of the international reception of Vasić’s works and his erroneous dating of the site. The purpose of this piece is to contribute to a critical evaluation of foundational figures in Serbian archaeology and can be seen as an extension of a conversation started by Palavestra and Babić in several previously published articles. The article ends by asking to what extent these early omissions in Serbian archaeology set the tone for structuring tropes and persistent traditions that have endured in this regional archaeological school ever since.

This article reconsiders the development of Fascist architecture throughout the late interwar period. It pays especial attention to the structures erected for the most significant international expositions held, or planned to be held, between 1933 and 1942, in order to identify significant trends in Party-sponsored design. It argues that the ‘dynamism’ of Fascist design was a consequence of the regime's preference for an increasingly imperial tone which developed in direct proportion to its increasingly imperial identity. It points to Piacentini and Pagano's Italian Pavilion built for the 1937 Paris Exposition, the first national pavilion constructed following the May 1936 proclamation of empire, as a significant flashpoint in the tension between Fascist interpretations of modern and classical design. This article concludes that the often-overlooked world's fair buildings can be viewed as crystalline distillations of the stylistic experimentation which defined the broader Fascist building programme both in Italy and abroad.

Cel artykułu to prezentacja poezji Natalii Liwyckiej-Chołodnej w przed-wojennych tłumaczeniach Józefa Łobodowskiego. Głównym założeniem jest wskazanie przesłanek, którymi kierował się tłumacz w wyborze utworu, przedstawienie właściwości warsztatu poetyckiego i omówienie dokonanych przez niego translacji. Natalia Liwycka--Chołodna (1902–2005) zaliczana do grona tzw. szkoły praskiej ponad 20 lat była związana z Polską. W Warszawie opublikowano dwa tomy jej poezji Вогонь і попіл (Ogień i popiół, 1934) oraz Сім літер (Siedem liter, 1937). W okresie międzywojennym jej dorobek był polskiemu czytelnikowi mało znany. Kilka tłumaczeń jej wczesnej poezji pojawiało się w latach 1934–1938 w „Sygnałach”, „Biuletynie Polsko-Ukraińskim” i czasopiśmie „Wołyń”. Ich autorami byli Tadeusz Hollender i Józef Łobodowski, który opublikował trzy prze-kłady: На розквітлі акації грона (Srebrny księżyc akację ogarnął), На розпуттях(Rue Racine) i На могилі (Nad grobem). Lubelski poeta sięgnął po utwory bliskie jego autorskiej poezji i poglądom politycznym. Omówione translacje są przykładem ekwiwa-lencji dynamicznej, charakteryzuje je energia i osobiste zaangażowanie tłumacza. Zwraca on uwagę na adekwatność semantyczną, ale nie rezygnuje z autorskiej poetyzacji tek-stu. W jego przekładach można odnaleźć wiele elementów mających na celu pobudzenie wyobraźni polskiego czytelnika.

At a time when Lyon celebrates the one hundred and fifty years of the birth of one of the most famous architects of the beginning of the 20th century, Tony Garnier (1869-1948), the observation of the conservation of the works of the designer of the Cité industrielle (1917) is very disturbing. Garnier’s heritage remains extremely fragile and the protection measures are insufficient. Several complexes and buildings have been destroyed and disfigured, for example the Abattoirs de la Mouche in Gerland (Lyon, 1909-1914) that were demolished in 1974. The large hall of the market has been preserved and transformed into a performance hall. Although the Édouard-Herriot hospital (1913-1933) has benefited from the protection of the perimeter of its chapel since 1967, its monumental fireplaces were demolished in 2001 for security reasons and, more recently, the Pavilion H has been destroyed in 2015 with indifference for the construction of a new 18,000 m2 building, designed according to François Chatillon’s (1961-) plans and delivered in 2017.

U Republici Hrvatskoj, u razdoblju od 1885. do 2010. godine, požete površine pod pšenicom rasle su do 1964. godine (od 190.000 ha u 1885. god. do 442.000 ha u 1964. god.), a od tada do danas bilježi se pad sve do 2010. godine kada je bila požeta najmanja površina od 141.000 ha. U razdoblju 1885-2010. god., proizvodnja pšenice varirala je od najmanjih 155.000 tona 1897. godine, dok je rekordna proizvo-dnja od 1.6 milijuna tona ostvarena 1990. godine. Promatrajući prosječne prinose, najniži prosječni prinos iznosio je 658 kg/ha (1897. god.), a najveći prinos od 5.483 kg/ha ostvaren je u 2008. godini. U promatranom razdoblju požete površine smanjivale su se na godišnjoj razini od 238 ha, dok su ukupna proizvodnja i prosječni prinosi rasli na godišnjoj razini u iznosu od 8.888 tona ili 37 kg/ha. Analizirajući pojedina razdoblja rezultati pokazuju da su u razdoblju 1885-1914. god. požete površine i proizvodnja rasle na godišnjoj razini od 6.760 ha i 5.473 tone, a prosječni prinosi zrna 5,7 kg/ha/godišnje. U razdoblju 1921-1939. god. požete površine i proizvodnja rasli na godišnjoj razini 2.813 ha i 5.618 tona, a prosječni prinosi zrna 6,5 kg/ha/godišnje. U razdoblju 1945-1991. god. požete površine su se smanjivale na godišnjoj razini od 1.080 ha. Proizvodnja je kontinuirano rasla na godišnjoj razini od 25.026 tona, a prosječni prinos zrna 84 kg/ha/ godišnje. U razdoblju 1992-2010. god. trend smanjivanja požetih površina se nastavio na godišnjoj razini od 2.168 ha, dok je za proizvodnju utvrđeno godišnje smanjivanje od 64 tona. Prosječni prinos zrna rastao je prosječno 61 kg/ha/godišnje.

Em pleno século XXI, assistimos ao surgimento do romance A Mercy (2008), da norte-americana Toni Morrison, que invoca o passado de povos que estiveram historicamente às margens da cultura nacional norte-americana. A Mercy retorna a história da colonização anglo-saxõnica do século XVII, para contar, a partir dos viés do trauma, a história de Florens, que ainda menina é oferecida pela mãe, no lugar de seu irmão menor, para pagamento de dívidas do dono da plantação. O romance marca o envolvimento por parte de Toni Morrison em um projeto estético-político que visa resgatar a história das relações raciais nos Estados Unidos pelo viés do trauma. Este estudo apontacomo, a partir do redirecionamento do foco para a interioridade da experiência histórica - a história como trauma -, Morrison possibilita um encontro diferenciado com um passado historicamente silenciado, através de estratégias textuais que mobilizam não apenas a razão, a percepção crítica do leitor, mas que transformam o ato da leitura numa experiência vivida revelando o potencial da literatura para transformar as relações humanas.
Toni Morrison’s latest novel A Mercy (2008), evokes the past of peoples that were historically confined to the margins of the American culture. Morrison goes back to the period of the Anglo-Saxon colonization in the 17th century to tell the story of Florens, who is offered by her mother as the payment of a debt by the plantation owner. Florens’ story is narrated from the point of view of trauma, an aspect that highliths Toni Morrison’s commitment to a political-aesthetical project to recover the history of racial relations in the United States from an inner perspective. This thesis shows how Morrison’s text allows for a different encounter with a historically silenced past, focusing on the interiority of historical experience – i.e., on history as a trauma. Through multiple textual strategies, Morrison’s novel mobilize not only the reader’s critical perception but transform the act of reading into a living experience, one that can reveal the power of literature to change human relations.

Lors d'un entretien avec Nellie McKay en 1983, Toni Morrison lui confiait alors les propos suivants : “I'm interested in survival―who survives and who does not, and why […] It's the complexity of how people behave under duress that is of interest to me―the qualities they show at the end of an event when their backs are up against the wall.ˮ Ainsi dans ses œuvres qui se caractérisent par une force de vision et une puissance poétique qui a rendu ses écrits célèbres partout dans le monde, la romancière aspire à rectifier les erreurs ainsi que les omissions de l'Histoire officielle sur une période qui s'étend d'avant l'arrivée du premier navire négrier en Virginie au XVIIe siècle à une époque plus contemporaine qui va au-delà de la lutte des Noirs américains pour obtenir la déségrégation et l'égalité des droits civiques dans les années soixante. Dans des textes qui se veulent parfois elliptiques, parfois ostentatoires, Toni Morrison veut redonner la parole à des personnages marginalisés, vulnérables et souvent meurtris dans leur chair afin de mettre un terme au silence de plusieurs décennies de discrimination raciale qui entravent leur quête identitaire. C'est donc par le biais de sa plume que Morrison révèle les déchirures, les tribulations, mais aussi les passions, les espérances, et les stratégies de survie qui animent ses personnages qui s'efforcent de se libérer des chaînes de l'oppression et du poids du passé. Par le biais d'un langage qui fut tout à tour un instrument d'oppression et un instrument de rédemption, Morrison fait de la parole un mode d'expression qui réinvestit le texte par des voies/voix typiquement afro-américaines créant de la sorte un espace symbolique où le Noir peut désormais faire face à l'oppression dont il a autrefois été victime et se reconstituer enfin une subjectivité qui lui est propre
During an interview with Nellie McKay in 1983, Toni Morrison confided to her the following words: “I'm interested in survival―who survives and who does not, and why […] It''s the complexity of how people behave under harshness that is of interest to me―the qualities they show at the end of an event when their backs are up against the wall.” Therefore, in her works which are characterized by a force of vision and a poetic power which has made her writings famous all over the world, the novelist aspires to rectify the errors as well as the omissions of the official History over a period which extends from before the arrival of the first slave ship in Virginia in the 17th century to more contemporary times that go beyond the struggle of black Americans for desegregation and equal civil rights in the 1960s. In her texts that are sometimes elliptical, sometimes ostentatious, Toni Morrison wants to give a voice to marginalized, vulnerable and often “fragmented” characters who are deeply wounded in the flesh in order to put an end to the silence of several decades of racial discrimination which hinder their quest for identity. It is therefore through her pen that the writer reveals the struggles, the tribulations, but also the passions, the hopes, and the strategies of survival which animate her characters who strive to free themselves from the chains of oppression and from the weight of the past. By means of a language which was in turn an instrument of oppression and an instrument of redemption, Morrison makes out of language a mode of expression which reinvests the text with typically Afro-American ways/voices thus creating a symbolic space where Black people can now face the oppression of which they were once a victim and finally reconstitute their own subjectivity

La remise en question de l'histoire par les ecrivains afro-americains (ici, toni morrison, a travers the bluest eye, beloved et jazz) et caribeens (v. S. Naipaul a travers the enigma of arrival et a way in the world) repond a un devoir d'exhumation du passe pour remedier a l'histoire mutilee de la communaute et opposer a l'histoire officielle, partielle et partiale, la memoire qui permet a l'individu de restaurer la parole interdite et d'enclencher un processus identitaire qui l'ancre dans un espace-temps ou il peut s'appartenir. L'espace est d'abord le lieu de l'absence, ou l'individu issu des colonies ou de l'esclavage est exile a lui-meme : la litterature coloniale dit en effet le desir impossible d'appropriation et de mimetisme. Ceci amene l'ecrivain de couleur contemporain (par exemple, e. K. Brathwaite, wilson harris ou david dabydeen pour les caraibes, ou encore chinua achebe pour l'afrique, en sus des deux auteurs etudies plus en profondeur) a dire le sensible, a exhumer les corps absents, le regard disant l'absence de l'autre. Ainsi, chez naipaul francisco miranda est pris comme l'exemple de l'echec du regard exotique qui aboutit a une image de l'indescriptible. Ceci conduit a une perception eclatee du sujet qui, en dejouant une esthetique occidentale au depart source d'alienation, va doter son regard d'une perspective. Si dans beloved la memoire retrouvee vient parfois nourrir le present, il n'en demeure pas moins qu'elle achoppe sur les traumatismes de l'histoire, et que le passe (celui des humiliations et de l'horreur) reste alors a jamais dans le domaine de l'indicible. Seul naipaul semble proposer une vision prismatique du sujet caribeen, caracterise par sa multiplicite, et se logeant dans un espace-temps non plus confine a une geographie, mais celui, esthetique, des "temps flottants"
The veracity of historical texts is called into question by afro-american and caribbean writers. For instance, toni morrison's the bluest eye, beloved and jazz and v. S. Naipaul's the enigma of arrival and a way in the world are attempts to recover the past. Morrison and naipaul contrast official, partial historical texts with memory which enables the individual and his community to restore speech and does away with censorship. He may then decolonize the space he lives in by developing a poetics of identity. At first colonials are strangers to themselves and are confined within a dialectics of western mimicry. This leads contemporary postcolonial writers such as e. K. Brathwaite, wilson harris or david dabydeen in the caribbean or chinua achebe in nigeria to question the nature of western/postcolonial worldvision by re-telling parts of the past. Thus to naipaul francisco miranda's blind gaze exemplifies the caribbean fate, and his life is one of chaos and confusion. Finally, a postcolonial scattered perspective emerges. In beloved recovered memory feeds the present. However historical traumas remain for ever unsaid and are obstacles to the emergence of the subject within his community. Naipaul offers a prismatic, plural vision of the caribbean subject - he evolves in a space and time which is not geographically defined, but which elaborates subjective aesthetics, that of "floating times"

Arraches a leur terre d'origine et rejetes par ceux qui causerent cet exil, les afro-americains existent dans le neant de l'exclusion. Vivre, pour eux, va donc signifier tenter de forger une identite qui resolve l'antithese culturelle qu'ils incarnent. Cet effort caracterise le mouvement litteraire afro-americain, essentiellement mene par des femmes, qui s'est developpe depuis les annees soixante-dix. Toni cade bambara et toni morrison sont deux personnalites majeures de ce mouvement. Utilisant des techniques narratives tres differentes, les deux auteurs s'efforcent de depasser le manicheisme materialiste propre a la societe dominante, et qui, impose a la communaute noire, provoqua une tres profonde crise identitaire. Resumee par le concept de double conscience forge par du bois, cette crise est entendue au sens etymologique du terme, comme une distinction, une separation, exprimant la rupture d'un ordre originel caracterise par l'unite. Le but de ce travail est donc d'etudier dans quelle mesure une structure de crise et de regeneration, entendue comme le passage d'un dualisme destructeur a une unite qui donne vie, peut etre degagee des oeuvres de fiction ecrites par toni cade bambara et toni morrison. L'analyse s'attache a demontrer que le militantisme de bambara et son
Torn from their motherland and rejected by those who caused their exile, afro-americans live in a place where they have no recognised identity. Hence, for them, existing will mean bridging the gap between their african and american identities. Since the 1970s, this is precisely what afro-american women writers have been aiming at doing. Toni cade bambara and toni morrison, particularly, have tried to go beyond the imperialist-derived secularism of western culture that fragments reality and caused afro-americans, in du bois' terms, to experience "double-consciousness, this sense of always looking at one's self through the eyes of others". The crisis undergone by the afro-american psyche is thus studied in the etymological sense of the word, i. E. "separation", as reflected by bambara's and morrison's fiction. As a matter of fact, both writers have tried to substitute a regenerating sense of unity for the destructive dualism imposed by the ruling part of the american society. In their progression from a state of existential and stylistic crisis to a unified whole, their fictional writings demonstrate an equal urge to go beyond words in an attempt to grasp the essence of life, far beyond the limited and fragmenting vision conveyed by any ideology

Avant de partir a la recherche de l'autre, il faudra tout d'abord voyager au fond de soi. Les ecrits de trois femmes dites "noires" - toni morrison, afro-americaine, maryse conde, antillaise, et mariama ba, africaine - aideront le chercheur a atteindre l'autre rive et a revenir a lui-meme, mais transforme par son experience, tel saint paul sur le chemin de damas. Car la litterature dite americaine n'existerait pas sans la presence du peuple noir, comme l'affirme de toni morrison, et sans les ecrits de cet auteur, la quete de l'autre aux antilles ou en afrique n'aura pas lieu. Les trois romancieres auront accompli une telle recherche. Quant a leurs personnages, tres peu arriveront a surmonter les entraves et embrasser l'element autre en eux-memes et a retrouver leur reflet chez l'etranger. Ceux qui feront le pont avec l'autre reussiront dans le cadre de leur communaute ou de leur groupe racial culturel, ce qui est deja un pas en avant
Before undertaking the search for the other, it is necessary to travel to the farthest depths of oneself. The works of three so-called "black" women toni morrison, african-american, maryse conde, west indian, and mariama ba, african will help the researcher to reach the other shore and to come back to himself, but transformed by the experience, like saint paul on the road to damascus. For what is called american literature would not exist without the presence of black people, as toni morrison asserts, and without this author's works, the quest for the other in the west indies and in africa would not take place. These three women, as novelists, will have accomplished such a search. As for their characters, very few will manage to overcome obstacles and embrace the "other" element in themselves and find their mirror image reflected in the stranger. Those who finally build a bridge with the other will succeed in doing so in their own community or within their racial cultural group, which is already a step forward

Parce qu’elle louvoie constamment entre les extrêmes, surprenant son public là où il ne s’y attend pas, la poésie de Tony Harrison est inclassifiable. A l’instar de l’ironie, son mode d’écriture privilégié, elle est à la fois iconoclaste et traditionaliste, populaire et élitiste, pudique et publique, inclusive et exclusive. Tony Harrison imprime sa marque dans le canon, entre résistance et rébellion, fidélité et originalité, grâce à des traductions audacieuses de textes dramatiques classiques. De même, il revisite la forme sonnet, confronte la langue poétique aux théories sur l’hégémonie culturelle et invite la problématique galvaudée du scholarship boy dans l’Angleterre thatchériste. Dans sa quête d’une poésie publique, ce trouble-fête socioculturel s’approprie des media, ainsi que des lieux de production et de représentation non-conformistes. Brouillant les frontières génériques entre poésie, théâtre et cinéma, entre art et reportage, Tony Harrison impose les rimes et les formes strictes, apparaissant paradoxalement comme le plus traditionaliste des poètes anglais contemporains. Il revisite ainsi l’esthétique tragique pour que la poésie survive aux traumas du vingtième siècle, tout en exhibant une tendance irrépressible à l’ironie. De la ritualisation de la représentation théâtrale à la mise en scène de la littérarité, la poésie de Tony Harrison s’offre en spectacle, écumant les poètes, les langues, les dialectes et les idiolectes pour célébrer les plaisirs de l’écriture
Since the 1970s, Tony Harrison has constantly played with expectations and relished paradoxes. His poetry, like irony, his favourite mode of writing, defies categories. It is both iconoclastic and traditionalist, popular and elitist, self-conscious and public, inclusive and exclusive. Starting his career with the translation and modernisation of dramatic classics, he has made his mark in the poetic canon with his appropriation of the sonnet form. Half-way between resistance and rebellion, homage and originality, he confronts poetic language with theories of cultural hegemony, and invites the outmoded scholarship boy debate into Thatcherist Britain. In his quest for public poetry, he appropriates non-conformist media and cultural venues. While blurring the traditional distinctions between poetry, theatre and cinema, between art and reportage, Tony Harrison imposes rhymes and strict poetic forms, thus paradoxically appearing to be the most traditional of contemporary English poets. He revives Greek tragedy so that poetry might survive the traumas of the twentieth century, but demonstrates an irrepressible tendency for irony. Thus, he endows the theatrical performance with a ritual quality while, at the same time, debunking the artificiality of poetic language. Tony Harrison’s poetry exhibits texts, poets, languages, dialects and idiolects to celebrate the pleasures of poetry

Although Schoenberg viewed his twelve-tone method as an extension of the Germanic musical evolution from Bach to Brahms, one group of writers in America identified twelve-tone antecedents with Medieval and Renaissance polyphony. Such a correlation of Schoenberg's practice with this textural orientation of the past was part of a larger movement (what I term "neopolyphony") recognizing twentieth-century musical developments as the genesis of a polyphonic epoch reviving both the technical and aesthetic concerns of the former era. With Schoenberg's practice applied to this analogical context, other writers (Hill, Krenek, Perle) advanced certain modal theories based in various degrees on the internal organization and functional role of the Church modes.

Ce travail tourne essentiellement autour de l'œuvre de l'écrivain afro-américaine Toni Morrison. Il s'agit de voir en quoi son écriture des corps noirs et de l'héritage afro-américain, ainsi que son élaboration d'une voix tragique propre, font de sa voix une voix interdite, une voix littéraire de la mémoire et de la souffrance, s'élevant contre la censure et contre l'oubli. A chacun des trois thèmes-corps, héritage, pathos-correspond un chapitre. Les explications de textes occupent une part importante de mon analyse, pour mieux mettre en valeur et saisir dans ses subtilités le travail littéraire de l'écrivain. Tout au long de ces trois premiers chapitres, d'autres écrivains font également l'objet d'analyses approfondies, soit parce qu'ils entrent en écho avec l'œuvre Morrison (qu'ils soient ou non des écrivains noirs américains) ou, au contraire, parce que leur voix est emblématique de ce contre quoi Morrison écrit, ou ce que son écriture révise. L'idée est de souligner l'identité ou la proximité des thèmes abordés et de marquer ensuite, grâce à la comparaison ou la confrontation, le travail particulier, tant sur le plan littéraire qu'idéologique de chacun des écrivains cités. Le quatrième et dernier chapitre pose la question "existe-t-il une voix noire?" de manière à ne pas éluder le débat concernant l'ethnicité de la littérature noire. En évitant toute réduction de la littérature noire à une spécificité linguistique ou sociologique, il s'agit de souligner dans ses grands traits une tradition littéraire fertile de la voix noire, une tradition qui, grâce aux écrivains étudiés ici, est plus que jamais en marche
This study focuses mainly on the work of the African-American woman writer Toni Morrison. Its aim is to show how Morisson's writing of black bodies and of the African-American heritage, as well as her creation of a unique tragic voice, make hers a forbidden voice, a literary voice of memory (or rememory) and pain, struggling to be heard against the forces of suppression and oblivion. To each of these three themes-the body, the Afro-American heritage, the tragic voice a chapter of this study is devoted. The literary commentary of long extracts from the novels is the main feature of this dissertation, my hope being that such literary analyses may more specifically highlight the subtlety of Toni Morrison's work on language. Throughout these three chapters, other authors (African-American or not)are also the object of textual analysis, either because their voices enter in a call-response pattern with Morrison’s or, on the contrary, because they are emblematic of what Morrison writes against, of what she revises. In singling out writers who have chosen very similar themes, my point is to underline the marked differences in literary or ideological treatment that appear when their work is read in parallel with Morrison’s texts. The last chapter asks the question: "is there such a thing as a black voice?" in order not to avoid the question of the ethnicity of black literature. Without reducing black literature to the linguistic or sociological features it comprises, this chapter attempts to chart the already rich literary tradition that the black voice has behind it, a tradition which, thanks to the writers studied here, arches likes a rainbow from the fertile past into a glorious future

Originally presented as the author's Thesis (Ph. D.--Nankai da xue).
"Ha'erbin shi fan da xue you xiu xue shu zhu zuo ji jin zi zhu xiang mu ; Heilongjiang Sheng jiao yu ting ren wen she hui ke xue yan jiu xiang mu bian hao 10542062." 880-05 Includes bibliographical references (p. [311]-324).

Cette étude porte sur les modalités de l'écriture dans les six romans de Toni Morrison. Elle s'attache d'abord au découpage du texte et à la structure profonde comme stratégie allusive de signification, ou bien miroir des relations entre personnages, trajet plein d'énigmes et fausses pistes ou parfois la linéarité éclate et dont la fin reste ouverte. L’espace de l'homme se distingue des lieux de la femme : maison et foyer, géographie comme théâtre de la mobilité, lieux de tradition et espaces de modernité, territoires de la ville et pôles de la grande migration jalonnent les récits mais on assiste aussi au brouillage des repères. Les cadres et niveaux de la temporalité incitent à proposer une théorie du temps féminin et du temps noir vécu linéaire et temps cyclique, retour à l'origine ou dilatation du temporel, remise en mémoire à partir du présent des ressassements, personnages vivant au rythme et à l'heure de leur époque. Le nom a une grande importance comme vecteur d'identité, signe de l'appartenance au groupe enracinement dans la généalogie mais il apparait parfois comme parodie du symbolisme chrétien ou marque de l'indétermination tandis que la nomination, fonction de puissance, devient synecdoque du roman. L’étude de la narration relevé l'inégalité des narrateurs, les réflecteurs multiples, le récit polyphonique. Surtout dans jazz le narrateur à part entière prend la parole et figure les intrusions de l'artiste. Par-delà la narration se font entendre la voix du texte et la voix de l'auteur. Enfin, l'étude aborde l'expression créatrice et les métaphores de l'écriture. Les thèmes récurrents de l'"artiste manquée" et l'expression collective de la communauté, l'envol et l'essor créateur, la pratique du conte et du chant la musique-métaphore. Soulignant le refus du cliché et l'œuvre ouverte, la conclusion débouche sur le recours assez constant à la différance et à la coexistence des sens possibles
This dissertation deals with the writing techniques in Toni Morison’s six novels. First it applies to the division of the different sections of the text and its deep structure. This structure is depicted on the one hand, as a strategy alluding to "signification" and on the other hand as a mirror reflecting relationships between characters. This relationship, in turn, is considered as a path full of riddles and false tracks where sometimes linearity breaks out and the end remains open. Second, it shows the distinction between male's space and women's places. House, family and home all places, from a geagraphical stand point, are associated to an envionment proper to women as if these places aretheir stage of mobility. Whereas space of modernity, territories of "la grande migration" are supposed to be male's space. Still this study proves, with multiple examples from the novels, the possible discorder of the landmarks. Third, the framework and levels of times put up a theory of women's time and black time. In other words, the linear lived time and the cyclic one, including notions like return to origins, expansion of the temporal, call to memory the notion of transcending the past into the present. The name plays an important role in this study. It is presented as a broad hint to identity that is a sign of belonging to the group and anchored in the genealogy. But, at times, it appears as a parody of the christian symbolism or a mark of indetermination. Naming on the other hand goes beyond its role of power and becomes an indivisible part of the novel. The analysis of the narratives reveals the unequality of the narrators. In fact we find that, in jazz, the narrator is more present, more powerful and can also influence the reader's opinion. In jazz the narrator speaks and illustrates the artistic intrusions. Finally, the study speaks about creative expression, metaphor of working, the reccurents themes of "l'artiste manquée" and the collective expression of the community, including flight, creative expansion and the practice of oral communications (tales, chant, songs. . . ). Emphacising on the refusal of the "cliché" and "l’oeuvre ouverte", the conclusion leads to almost a constant use of the "differance" and to the coexistance of multiple meanings

Der Artikel thematisiert die Ausschlussmechanismen von Frauen in der patriarchal geprägten Nachkriegs-Avantgarde. Tona Scherchen (geb. 1938) war eine der wenigen Komponistinnen, die sich in den 1960 Jahren etablieren konnte. Eine Schlüsselrolle spielte am Beginn ihrer Karriere ihr Vater Hermann Scherchen. Damit lässt sich die Bedeutsamkeit von Netzwerken bzw. männlichen Fürsprechern für den Karriereverlauf von Frauen aufzeigen.

In fall 1930, George complains of commissions to make “school-girls beautifully vague.” Around the new year, he shares an apartment with Lloyd for several months. He frequents the tony salon of Kirk and Constance Agnew—tea at five, cocktails at six—while still haunting Romany Marie’s Village tavern with Lloyd. Through his friend, Southerner Fannie Cottonet, a portrait show supported by H. T. (Harry) Leggett takes shape. Through John McAndrew, a young architect assisting the ambitious gallerist Julien Levy, another Lynes photo show emerges. The Leggett show promises commercial success; the Levy show points toward an “artistic” goal. Miss Cottonet introduces George to high-end cultural subjects like violinist Efrem Zimbalist and his wife, opera singer Alma Gluck. George is cheered to have so much friendly new support. Barbara Harrison covers George’s Atlantic crossing in May 1931. By then, his Leggett show has been scheduled for the coming fall and the Levy Gallery show for early 1932.

Photolithography at 193 nm is a natural continuation of the progression from 436 to 365 to 248 nm in lithography, dictated by the requirement for continually higher resolution. It is anticipated that 193-nm lithography will enable 0.25-μm patterning and will become the leading volume production technology at 0.18 μm. The main issues related to lithography at this new wavelength are being addressed at Lincoln Laboratory. It has been shown that highly transparent optical materials are available at 193 nm. Also, they are damaged by the laser radiation at a slow enough rate that high-quality projection optics are expected to perform within specifications for 10 years of full-time operation. Consequently, a 193-nm step-and-scan system has been constructed by SVGL, and it has been designed to attain sub-0.25-μm resolution over a 22 by 32.5 mm field. A range of 193-nm photoresist schemes has been demonstrated. They include semitransparent single-layer resists, positive-tone surface imaging (silylation), and negative-tone bilayers using ultrathin silicon-based polymers. In most instances we have demonstrated sub-0.25-μm resolution, high photosensitivity, good exposure-defocus latitude, and very low levels of etch residue (Figs. 1 and 2). In sum, the first successful steps towards a fully engineered 193-nm photolithography have been taken, and no major obstacles are anticipated.

Climate change is seen as one of the most common problems of the world today. Countries, organizations are making extraordinary efforts to reduce the negative effects of this phenomenon. Forests are accepted as the biggest mechanism with the advantage of storing large quantities of carbon as well as having the opportunity to increase their carbon content through increasing the size, apply rehabilitation in the degraded stands, or doing interventions. Therefore, monitoring the forests, taking measures and applying forestry activities when needed is utmost important. In this regard, temporal monitoring of the amount of carbon in forest biomass offers advantages as it is easy to implement and understand. In this study, forest biomass carbon was displayed for Tonya Planning Unit (PU), works under Trabzon Forest Enterprise for the periods between 1971 and 2018, meaning nearly half century. Tonya PU is covering a total area of 12,532.3 ha, of which 5620.7 ha (44.8%) is forested landscape. The vegetation type is primarily composed of Oriental Spruce (Picea orientalis Link), Oriental Beech (Fagus orientalis Lipsky) and Alder (Alnus glutinosa sub. barbata Mey). There is also certain amount of Anatolian Chestnut (Castanea sativa Mill.), and Hornbeam (Carpinus orientalis) dominated stands. Tree specific biomass expansion factors were used in the calculation of above and belowground biomass carbon content. In addition to determining the amount of total carbon, the outputs were handled in the context of forest dynamics represented by temporal changes of land cover. Quantitative evidence showed that there were drastic changes of carbon storage in above and below ground forest ecosystems between two periods.

Resumen: Realizamos un nuevo estudio de las combinaciones de colores seleccionados por Le Corbusier en los ‘claviers’ para la empresa de papeles pintados Salubra en 1931, mediante su análisis en el espacio de color Natural Color System NCS, que permite comprender las variables perceptivas de los colores (tono, negrura y cromaticidad) y sus criterios de armonía. En este artículo discutimos las gamas tonales seleccionadas y aquellas que están ausentes., e intentamos desentrañar el orden subyacente en las combinaciones de colores mediante el estudio de las similitudes y contrastes de sus tonalidades en NCS. De manera gráfica, se demuestran algunos principios de armonía como el recurso habitual de contrastar tonos fríos con cálidos, algo que difiere ligeramente del tradicional contraste de complementariedad. El trabajo completo ha sido publicado en Color Research and Application © Wiley Periodicals. Color combination criteria in Le Corbusier's Purist architecture based on Salubra claviers from 1931. DOI: 10.1002/col.21940. Abstract: We have carried out a new study of the color combinations selected by Le Corbusier in the ‘claviers’ for the Salubra wallpaper company in 1931, by analyzing them in the Natural Color System NCS, which allows us to understand the perceptive variables of colors (hue, blackness and chromaticness) as well as their combination criteria. In this paper, the selected hue ranges are discussed, and those absent ones. We aim to find out the underlying order in the color combinations by studying the similarities and contrasts of their hues in NCS. We demonstrate graphically some principles in Le Corbusier’s color preferences, such as the usual resource of contrasting cool with warm colors, something slightly different to the traditional contrast of complementary colors. The complete work has been published in Color Research and Application © Wiley Periodicals. Color combination criteria in Le Corbusier's Purist architecture based on Salubra claviers from 1931. DOI: 10.1002/col.21940. Palabras clave: color, armonía; Le Corbusier; Salubra; arquitectura; Natural Color System. Keywords: color; harmony; Le Corbusier; Salubra; architecture; Natural Color System. DOI: http://dx.doi.org/10.4995/LC2015.2015.570

The U.S. Army Corps of Engineers (USACE) currently operates and maintains approximately 193 commercially active lock sites with 239 locks and dams spanning nearly 12,000 miles. These networks of water channels are used to transport 600 million tons of domestic cargo, generating $405 billion in revenue annually. Nearly 60% of these structures in operation are over 50 years old and have reached design life. A failure of the miter gates could result in a major negative impact on the economy and on the ability to maintain flood control. Administrators need recommendations to better prioritize maintenance and repair of the USACE miter gates. This work investigated the influence of miter gate’s quoin block degradation on load transfer to the pintle and/or pintle connections. Results of finite element analysis are reported for the quoin block degradation simulated levels of 0%, 25%, 50%, and 75%. The parametric study shows the overstressed regions are the pintle neck and bolt-hole regions. To improve pintle designs so they may better mitigate detrimental environmental based deterioration effects, this work recommends (1) increasing the thickness of the bolt-hole connection region and (2) adding ribbing reinforcement around the neck area of the pintle.