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1
Nickel, Vivian. "Trauma, memória e história em A Mercy, de Tony Morrison." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/61717.
Повний текст джерелаАнотація:
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.
2
El, Helou Rachelle. "La vulnérabilité dans la fiction de Toni Morrison : De l'aliénation à la reconstruction identitaire par le langage." Electronic Thesis or Diss., Université Côte d'Azur, 2023. http://www.theses.fr/2023COAZ2029.
Повний текст джерелаАнотація:
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 propreDuring 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
3
Alliot, Bénédicte. "Figurations du temps dans l'oeuvre de toni morrison et v. S. Naipaul." Paris 7, 1999. http://www.theses.fr/1999PA070009.
Повний текст джерелаАнотація:
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"
4
Le, Fustec Claude. "Crise et regeneration : la quête d'unite dans la fiction de Toni Cade Bambara et Toni Morrison." Toulouse 2, 1996. http://www.theses.fr/1996TOU20002.
Повний текст джерелаАнотація:
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 sonTorn 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
5
Dabbagh, Lori. "Faire son chemin de Damas : le (soi-disant) Tiers monde et la femme dite "noire": Toni Morrison, Maryse Condé et Mariama Bâ." Paris 3, 1995. http://www.theses.fr/1995PA030136.
Повний текст джерелаАнотація:
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 avantBefore 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
6
Vegehan-Marshall, Cécile. "Poésie, politique et ironie dans l'oeuvre de Tony Harrison." Bordeaux 3, 2007. https://hal.archives-ouvertes.fr/tel-01526177.
Повний текст джерелаАнотація:
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’écritureSince 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
7
Finnegan, Sean Justin. "Schoenberg, Polyphony, and Mode : A Reception of the Composer's Twelve-tone Method in American Publications, c. 1925-1950." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279380/.
Повний текст джерелаАнотація:
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.
8
Michlin, Monica. "Toni Morrison & les voix interdites." Paris 4, 1996. http://www.theses.fr/1995PA040254.
Повний текст джерелаАнотація:
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 marcheThis 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
9
Li, Shujuan. "Ri wei tong zhi xia de Dongbei nong cun, 1931-1945 nian /." Beijing Shi : Dang dai Zhongguo chu ban she, 2005. http://www.loc.gov/catdir/toc/chi0801/2005460075.html.
Повний текст джерелаАнотація:
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).
10
TRIKI, DORRA. "L' écriture romanesque de Toni Morrison." Chambéry, 1997. http://www.theses.fr/1997CHAML001.
Повний текст джерелаАнотація:
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 possiblesThis 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
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Tra-Lou, Tesan Monique. "Mythe et fiction : Rudolph FISHER, Nella LARSEN et Toni MORRISON." Paris 7, 2002. http://www.theses.fr/2002PA070031.
Повний текст джерелаАнотація:
Cette étude porte sur les modalités de l'écriture dans six romans de trois auteurs africains-américains : "The Walls of Jericho " et "The Conjure Man Dies" de Rudolph Fisher ; "Quicksand" et "Passing" de Nella Larsen ; "Beloved" et "Paradise" de Toni Morrison. L'analyse s'attache, grâce au mythe comme stratégie de signification narrative, à révéler les aspects multiples de récits qui font simultanément appel aux techniques de la prose, de la poésie, des arts plastiques et arts du spectacle. Des personnages à la structure du texte, le mythe sert ainsi l'objet d'une quête qui vise à rendre la lecture plus agréable à l'oeil et à l'oreille. Cette voie demande à être une pensée et en même temps le but d'un mouvement : la création. Une création où la mélancolie qui est la vraie sensation du temps est garante de joie ou de colère susceptibles d'entraîner l'écriture de la prose vers la poésie, le théâtre, la sculpture, la peinture et la musique. Cette tendance du texte conjoint formes et pratiques religieuses africaines adaptées à l'univers de la diaspora noire des Amériques. On assiste ainsi à un brouillage des repères traditionnels du roman où les niveaux de temporalité incitent, grâce au mythe, à proposer une théorie du temps linéaire et à la fois cyclique : retour à l'origine ou dilatation du présent dont les fragments sont arrachés à l'époque "Harlem Renaissance ou Black Arts"This study focuses on the styles of three African-American authors through six novels: Rudolph Fisher's "The Walls of Jericho" and "The Conjure Man Dies", Nella Larsen's "Quicksand" and "Passing", Toni Morrison's "Beloved" and "Paradise". Using the myth functioning, the analysis seeks to highlight the many layers of narratives which blend poetry and visual and performance arts techniques with the prose. The characters and the plots thus create the conditions for a quest of a more vivid performing story. This tend to be both a way of thinking and a creative movement. Bitterness and happiness which are the basic emotions in life remain a way to drive the discurse from prose to the stage, on painting, carving, music and poetry fields. African religious practices are thus adjusted to the American black diasporic world. .
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Murnane, Owen D., Faith W. Akin, and T. Medley. "Tone-Evoked Vestibular Myogenic Potentials." Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etsu-works/1911.
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Mouafo, Pagoué Constantin. "La question de l'altérité ou le problème de l'image de l'autre chez Mongo Beti, Joseph Zobel et Toni Morrison." Paris 4, 2007. http://www.theses.fr/2006PA040198.
Повний текст джерелаАнотація:
Autour de la question de l’Autre (caractérisé par plusieurs figures) et de la problématique de l’image se dévoilent une vision du monde et un regard chargés de sens qui sont sources d’enjeux multiples dans lesquels interfèrent différents facteurs. Dans une analyse comparée des oeuvres de Mongo Beti, Joseph Zobel et Toni Morrison il est question de voir en quoi, audelà de l’identité des origines (l’Afrique berceau de leurs ancêtres communs) et des différences dues à leurs contextes respectifs, ces trois romanciers entretiendraient des similitudes (lesquelles ?) et/ou des spécificités (pourquoi ?). Cinq parties structurent cette recherche : 1) les différents aspects de l’Autre dans le corpus ; 2) son image chez chacun des trois auteurs, la fonction du regard et les cinq critères permettant de distinguer son statut ; 3) l’analyse des rapports à autrui et de la question de l’image dans des optiques dites spécifiques ; 4) l’étude comparée de certains statuts particuliers dans leurs rapports avec la question de l’image d’autrui (la femme noire, les métis et mulâtres, les enfants et les jeunes, les êtres d’exception) ; 5) synthèse, analyses et enjeux de la thématique de l’image de l’AutreAround the theme of Other (characterized by differents figures) and the image problematic, come to light a vision of the world and gaze full of sense sources of multiple stakes in which various factors interfere. In an comparative analysis of Mongo Beti, Joseph Zobel and Toni Morrison novels, it is question to see in what beyond the origin identity (Africa cradle of their common ancestors) and the differences due to their respective contexts, these three novelists would maintain similarities (which?) and/or specificities (why?). Five parts compose our research : 1) the various aspects of the Other in the corpus; 2) his (her) image to each of three authors, the function of the glance and the five criteria allowing to distinguish his(her) status; 3) the analysis of relations with others and the quest of image in specific optics; 4) the comparative study of certain particular statues in their relation with the theme of image of the Other (the half-bloods and the mulattoes, the children and the young, the black woman, the outstanding persons); 5) synthesis, analysis and stakes of image’s thematic of Other
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Pambo, Pambo N'diaye Ange Gaël. "Le réalisme magique dans les romans de Toni Morrison." Paris 8, 2009. http://octaviana.fr/document/176303057#?c=0&m=0&s=0&cv=0.
Повний текст джерелаАнотація:
La thèse a pour but d’explorer, dans l’œuvre de Toni Morrison, le réalisme magique en tant que mode d’expression de l’africanité. La présente étude tente faire le lien entre le régime narratif choisi et ce qu’il propose comme modes de représentation du monde africain. Ainsi, tout en mettant en question la vraisemblance d’un point de vue théorique on aborde la spécificité du style. Dans les formes d’expression orales, la présence des animaux, des ancêtres et des fantômes laisse transparaître un système de perception fondé sur le totem. Cette image rappelle l’origine et nourrit l’imaginaire. Les représentations de la danse ou les expressions du corps s’associent au culte du vaudou. Les guérisseurs et les oracles attachés à l’univers forestier, lieu de sacrifice et d’initiation, permettent de comprendre la signification des certaines représentations, telles que les infanticides. Ces figures donnent également une lecture de l’image de l’arbre comme étant la métaphore de la palabre, du pouvoir portée par le griot. En effet, établir l'africanité comme l'expression même du réalisme magique dans les romans de Toni Morrison reviendrait à rendre compte d'une conscience à la fois historique, culturelle et politiqueThe aim of this dissertation is to examine magic realism in Toni Morrison’s novels as the expression of africanity. Showing the link between the chosen narrative mode and the representations of the African world, the questioning of the concept of likelihood from a theoretical standpoint reveals the specificity of a style. Through oral forms of expression, the presence of animals, ancestors, and ghosts unveils a cultural system of perception in which totems bring back to the memory of the origin enriching the imagery. Dances or the expressions of the body are associated with the cult of voodoo. Through the description of traditional healers and oracles in forests, places of sacrifice and initiation, comes the significance or the motivation of characters committing infanticides. It also leads to the apprehension of the image of a tree as the metaphor of the power of speech epitomized by the griot. In fact, establishing africanity as the expression of magic realism in Toni Morrison’s novels would finally lead to deal with the historical, cultural and political consciousness
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Laroussi, Farid. "L'idéologie africaine américaine à travers l'œuvre romanesque de Toni Morrison." Toulouse 2, 1999. http://www.theses.fr/1999TOU20056.
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Dans notre titre "L'idéologie africaine américaine à travers l'œuvre romanesque de Toni Morrison" le mot idéologie ne doit pas être entendu dans un sens large. Il est le terme dans lequel nous allons précisément repérer une culture, celle des africains américains. Après avoir identifié et délimité le cadre d'analyse de l'idéologie, nous en montrerons le fonctionnement. Ainsi en serons-nous amenés à étudier la validité de ce terme en fonction des rapports de forces qui s'exercent sur le sujet africain américain et sa construction littéraire sous la plume de Morrison. Les analyses textuelles (The bluest eye, Sula, Song of Solomon, Beloved, Jazz, et Paradise) permettront de répondre à la question : à quelles conditions une littérature idéologique est-elle possible pour une femme noire écrivain ? Faute d'une science ou d'une théorie pré-déterminée, nous découvrirons l'originalité de l'écriture morrisonienne, qui, justement, s'exclut de tout discours idéologique.
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Bowman, Peter. "Microtonality and the recorder 1961-2013 : repertoire, tone colour, and performance." Thesis, Canterbury Christ Church University, 2014. http://create.canterbury.ac.uk/15736/.
Повний текст джерелаАнотація:
This thesis investigates the development of the recorder's microtonal repertoire from 1961 through to 2013. The artistic impulses for the use of microtones are discussed and selected pieces studied and performed. An investigation is also undertaken into the relationship between pitch, dynamic, and tone colour. This leads to the development of a method for objectively identifying the changes in tone colour that result from using various microtonal fingerings. Very little substantial research has been undertaken into the recorder's contemporary repertoire, and even less so with regard to its engagement with microtones. The skills for producing the expressive effects of dynamic and tone colour, and thus microtones, were known in the early 16th century, lost, and then revived during the period of musical experimentation in post-war Europe. The application of this knowledge, however, has remained limited. This thesis addresses these shortcomings. Following consideration of intonation and interpretation in Chapter 2 a survey of writings analyzing changes in tone colour and dynamic, and the relationship between them, is undertaken in Chapter 3. These include a number of foreign language texts, whilst others appear in American journals, or conference papers not generally available to the British reader. They highlight the tendency for writers to discuss tone colour and dynamic in vague and subjective terms, and in relation to the performance of early music but rarely in the context of contemporary music. This strand of my inquiry is brought to fruition in Chapter 5, where research leading to the development of a method for identifying and quantifying changes in tone colour, through the application of different fingerings, is applied for the first time. The results of an investigation into the evolution of microtonal repertoire composed since the 1960s are recorded in Chapter 4. Different compositional approaches to both instrument and microtonality are reflected in my choice of seven pieces, plus my own composition, that are the subject of detailed study in Chapter 6. The analyses of the pieces discussed in this thesis, and the contexts in which they were composed, represent a significant step forward in the understanding of the instrument and the use of microtones in compositions of the period. My thesis concludes with a live performance in which a selection of microtonal pieces is presented. This serves as a demonstration and confirmation of the principles discussed in this thesis, drawing together the threads of my research, and applying the insights gained in the course of this study.
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Robinson, Peter. "Shared intimacy : a study of Tony Harrison's public poetry with specific reference to his poetics, the political status of his work and his development of the genre of the film/poem." Thesis, University of Hull, 1998. http://hydra.hull.ac.uk/resources/hull:3868.
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El, Aroussi Adil. "La dialectique entre l'histoire et la fiction dans les romans de Toni Morrison." Angers, 2005. http://www.theses.fr/2005ANGE0047.
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Toni Morrison est une romancière afro-américaine qui a gagné le prix Nobel de la littérature en 1993. Dans ces romans, elle montre que l'histoire officielle n'est pas la seule version du passé. Elle essaie de donner une version du passé inspirée de la mémoire collective des Noirs. Pour Toni Morisson, la réécriture de l'histoire afro-américaine exige l'exploitation des expériences douloureuses et honteuses vécues par le Noirs pendant l'esclavage et après leur émancipation. Dans sa réécriture de l'histoire, la romancière crée une relation de dialectique entre la fiction et l'histoire. Il s'agit d'un passé fictionnel inspiré de l'histoire officielle, mais qui se trouve completée par les souvenirs remémorés par les personnages. D'abord, elle déconstruit le discours historique officiel et, ensuite, reconstruit une autre version de l'histoire afro-américaine qui est fictionnelle basée sur la vie quotidienne des Noirs aux Etats-UnisToni Morrison is an Afro-Américan writer who won the Nobel prize of literature in 1993. In her novels, the official hisstory is represented as a form of reconstructing the past. Instead, she gives a version of history which is derived from the collective memory of the Afro-Américans. For Toni Morrison, re-writing the Afro-Américan history cannot be without retrieving the horrible experiences and the shameful images of the past underwent by the Blacks during slavery and after their emancipation. This manner of re-writing history in her novels creates a relation of dialectic beteween fiction and history. The past inspired by the official history is often depicted as a fiction and completed by the different stories narrated by the characters. In this way, she deconstructs the historical discourse and reconstructs an other version of history basedon the everyday experiences of the Blacks in the Unites States
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Andres, Emmanuelle. "Entre sacrifice et sacré : l'écriture de Toni Morrison." Thesis, Tours, 2009. http://www.theses.fr/2009TOUR2011/document.
Повний текст джерелаАнотація:
Cette étude aborde l’œuvre de Toni Morrison à travers le prisme du sacré. Elle explore comment les romans offrent, d’un point de vue thématique et littéraire, une toile structurelle et formelle permettant l’accès au sacré – à cette transcendance dont le lecteur ne revient pas indemne. L’acte sacrificiel et la violence sont au cœur de la diégèse des romans. La reproduction du geste sacrificiel dans l’acte de « lecture-écriture » (terme emprunté à Henri Meschonnic) élabore le passage, au fil des romans, de la mise à mort des personnages au don (de l’être, de l’œuvre), comme en atteste le titre du dernier roman, A Mercy. L’idée de séparation véhiculée par l’étymologie du mot « sacré » est explorée à travers la dichotomie du pur et de l’impur ; le positionnement systématique des personnages d’un côté et de l’autre d’un écran de « pureté » participe au processus de sacralisation et tisse le fil rouge de la contagion, générée dans le texte même. Ce travail explore dans quelle mesure le sacré se répercute sur l’écriture, au point de devenir la condition du dé-pli et de l’expérience figurale du texte. La composition à l’œuvre dans les romans orchestre une écriture vivante, à haute voix, à l’orée du sentiment, qui rend très souvent compte de l’élément non rationnel du « divin ». Celui-ci est à même de souligner l’impact de l’écriture morrisonienne sur le lecteur, alors que le ressenti commun entre écrivain et lecteur, propre à l’écriture dialogique, génère la pulsion d’écrireThis study investigates Toni Morrison’s oeuvre from the standpoint of the sacred, and in particular how the sacred bears upon the writing itself, thus transforming the text into the locus and condition of the reader’s experience. Morrison’s work is thematically and formally predicated upon an access to the sacred/holy. The concept of the sacred is indeed highly relevant in Toni Morrison’s work, since the very act of composing/conducting the novels is heard and set in an affective language which often renders the non-rational element of the divine, referred to here as the “holy”. Its ability to move and astound the reader is rendered through actual or textual sacrifice. As the title of her latest novel, A Mercy, suggests, the sacrificial gesture which is reproduced in the reading/writing experience (following Meschonnic’s concept of “lecture-écriture”) creates an intimate link between the characters’ sacrificial deaths and the gift of the book, thereby inscribing sacrifice and violence at the very heart of the novels. The idea of separation conveyed by the etymology of the word “sacred” is explored through the dichotomy of “purity” versus “impurity” in the novels, where characters labelled as either pure or impure participate in the sacralising process. The concept of the sacred/holy not only accounts for the impact of Toni Morrison’s writing on the reader; it also sheds light on the dialogical nature of her work from which arises the shared impulse that is the reading/writing of the book
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Boutenbat, Hanane. "Le féminin pluriel : construction de l'identité chez Joanna Russ, Ursula Le Guin, Toni Morrison, Margaret Atwood, et Daphne Marlatt." Paris 8, 2013. http://www.theses.fr/2013PA084111.
Повний текст джерелаАнотація:
La thèse traite de la question de la représentation féminine en jeu dans les œuvres de Joanna Russ, Ursula le Guin, Toni Morrison, Margaret Atwood et Daphne Marlatt. Cette thématique est élaborée à partir d'un questionnement philosophique sur le genre. Les utopies et les dystopies publiées aux Etats-Unis dans les années 1970 ont contribué à fournir de nouvelles possibilités narratives pour la représentation du féminin. Depuis les stratégies de résistance élaborées qui émanent des œuvres rendent compte d'un vaste champ de définitions conduisant à l'émergence de la notion d'un pluriel féminin. Les études des romans sont envisagées dans une perspective transdisciplinaire qui a pour but de rendre compte de leur aspect polyphonique. L'analyse de la construction de l'identité féminine repose sur l'étude d'autres domaines concernant le genre, l'identité, l'ordre symbolique, l'Histoire. La diversité structurelle et thématique observée ici constitue un domaine d'investigation privilégié et caractérisé par une densité linguistique. Cette thèse a pour objet d'analyser et de mettre en évidence les modes discursifs qui témoignent d'une vision poétique, esthétique de l' "agir" féminin. Une telle vision tend à décentrer les codes établis de manière subversive et par conséquent à en questionner la logique binaire prétendument immuableThis work deals with the question of the representation of feminine identity in the works of Joanna Russ, Ursula Le Guin, Toni Morrison, Margaret Atwood and Daphne Marlatt. This topic is based on a philosophical questioning about gender. The literary utopias and dystopias published in the United States in the 1970's provided new narrative possibilities for feminine representation. Since that time, due to the strategies of resistance elaborated in the texts, a wide scope of definitions of the feminine has emerged, thus conveying the notion of a "plural feminine". The narratives are analyzed from a theoretical and cross-disciplinary perspective which enhances its polyphonic aspect. The analysis of the construction of feminine identity stems from other related questions linked to gender, identity, symbolic order, and History. The thematic and structural diversity observed here constitute a field of investigation characterized by symbolically dense language. This thesis analyses and emphasizes discursive modes which testify to a poetic, aesthetic and ethical vision of the feminine "will to act". Such a vision intends to subversively decenter established codes and consequently to question a supposedly immutable binary logic
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Paquet-Deyris, Anne-Marie. "Esclavage et féminité dans l'oeuvre de Toni Morrisson : sources des mythes afro-américains." Paris 4, 1991. http://www.theses.fr/1991PA040177.
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Dans ces cinq romans, Toni Morrison aborde les problèmes des femmes afro-américaines au sein du groupe familial ou communautaire, mettant ainsi fin à un long silence littéraire. Pour la femme afro-américaine, le mot "esclavage" a pris désormais un sens principalement culturel et social. Confrontée à un espace de liberté réduit. Elle doit se battre pour imposer une nouvelle définition d'elle-même et de sa propre valeur. Cela a souvent pour conséquence une rupture avec la communauté d'origine. Elle se lance alors sur le chemin d'une quête d'identité ou aide le héros du roman. Le plus souvent un homme, à poursuivre et achever la sienne. Dans son récit. Toni Morrison fait des références constantes à la structure et aux figures du mythe pour les remodeler, le plus souvent dans une optique propre. Ses personnages féminins sont pour la plupart des magiciennes dont la parole a le statut privilégié de verbe sacré et tout puissant. C'est grâce à cette parole que le héros peut réintégrer une tradition parfois perdue ou effacée et retrouver son nom et ses racines. Le message de l'auteur a une résonance tout à fait particulière dans la société contemporaine ou le cas des familles matrifocales se généralise. En tant que femme et chef de famille, la femme afro-américaine est à l'origine d'une nouvelle définition de la famille. Figure solitaire du "parent", elle permet d'accéder à des modes de vie alternatifs qui permettent à l'individu de fonctionner plus pleinement au sein du groupe, qu'il soit familial ou autreToni Morrison addresses in her five novels the problems of Afro-American women in a family or communal environment, thus breaking a ling literary silence. For the Afro-American woman, "slavery" has now taken on a mostly cultural and social meaning. Faced with a limited amount of personal freedom, she has to fight her way toward self-definition and worth. This often means breaking up with the community and embarking on a quest of her own or guiding the novel's hero, often a male. Throughout the narrative, Toni Morrison makes constant references to mythic structure and motifs, mainly to reshape them for her own uses. Her female characters often are magicians whose word is a sacred and powerful one. It reunites the hero with his long-lost tradition, roots and name. The author's message extends to contemporary society where mother-centered families are now becoming the rule. As both a woman and the head of the family, the Afro-American woman is able to redefine a new family. As a figure of "the parent", she offers the possibility of alternative lifestyles in modern society which allow the individual to function in a more wholesome way within the group (family or other)
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Mielle, de Prinsac Annie-Paule. "De l'un à l'autre : l'identité dans les romans de Toni Morrison." Dijon, 1996. http://www.theses.fr/1996DIJOL014.
Повний текст джерелаАнотація:
Le but de cette thèse est d'étudier la reconstruction de la personnalité noire à travers la fiction de Toni Morrison. La première partie, s'appuyant principalement sur Beloved, est consacrée à la dépossession matérielle, physique et mentale de l'esclave. C'est en effet la cause première de l'aporie de la conscience noire et l'histoire qu'il faudra se remémorer avant que la construction d'une identité devienne possible. Le mouvement conjugue de la quête de soi et du retour aux origines appelait l'utilisation du modèle analytique, d'autant plus surement que l'étude du schéma familial met en échec, dès le premier roman, la notion freudienne du triangle œdipien. Morrison semble, en effet, poser l'absence ou les manquements du père comme cause essentielle de la souffrance des femmes et des aberrations qui en résultent dans le développement individuel de l'enfant. La seconde et la troisième parties qui se veulent complémentaires, abordent donc de façon diachronique l'étude de la défaillance de l'homme, d'une part, puis celle du fardeau des femmes dans les romans de Morrison selon une approche psychanalytique et existentielle. C'est la relation de dialogue qui se noue entre les personnages qui permet la prise de conscience et la découverte de soi préalables à l'ouverture vers l'autre au sein de la communauté. L'un ne va pas sans l'autre et Morrison s'attache à montrer la stérilité d'une recherche individualiste et solitaire, à plus forte raison pour la femme qui renie, ainsi, le principe même de ses origines: la maternitéThis thesis aims at studying the processes of individuation in the novels of Toni Morrison. Part one is devoted to the way slaves were dispossessed of their bodies and mind. Slavery, as it is pictured in beloved, is the past black people have to remember and face before they can build their identity. This search for meaning through the return to the origins called for the analytic model, especially as the configuration of the "black family" defeats the very notion of Freud’s oedipian triangle. The absence or weaknesses of the father in Morrison’s novels seem to be the cause of the woman's sufferings and of the problems of identification of the child. Parts two and three of the thesis thus deal respectively with the failure of men and the burden of women, through the complementary approaches of psycho-analysis and existentialism. It is ultimately through dialogue that the relationship between the characters evolves towards consciousness and self-discovery. They in turn lead to the opening on the other and the community. Morrison shows the futility of a solitary, individualistic quest, especially for women who must renounce their feminity and deny their ancestors. The processes of individuation finally goes through recognition of the figure of the mother who becomes the center of a new form of humanism made of responsibility and love
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Owona, Ndouguessa François-Xavier. "Crise d'identité et volonté d'auto-définition dans les romans de Toni Morrison." Paris 12, 1988. http://www.theses.fr/1988PA120009.
Повний текст джерелаАнотація:
Dans chacun des quatre romans de morrison publies jusqu'en 1987, le heros connait une crise d'identite et cherche, de ce fait, a se redefinir a travers une attitude d'alienation (the bluest eye), de revolte (sula) ou de solidarite (song of solomon). Le quatrieme roman, tar baby, illustre les pieges tendus au heros dans la realisation de son programme d'action. Sur le plan de l'ecriture, les romans de morrison associent, de facon recurrente, certains themes a celui de l'identite qui les structure: la sexualite, la desalienation, la nomination des etres et des objets, le metissage, la negritudeIn each of morrison's novels published until 1987, the hero reveals a crisis of his identity and searches for self-definition either through alienation in the bluest eye, revolt in sula, or solidarity in song of solomon. Tar baby, the fourth novel, is an illustration of some traps set in front to the here in his adventure. As regards writing, morrison constantly associates to that of identity which is central, the following themes: sexuality, desalienation, the naming of characters and places, race mixing and negritude
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Hui, Wai-ki, and 許偉祺. "A study of Lok Sin Tong free school (1925-1941) = Le Shan Tang yi xue jiao yu yan jiu (1925-1941)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196521.
Повний текст джерелаАнотація:
This dissertation constitutes a detailed investigation of the history of the Lok Sin Tong Free School. It discusses how benevolent societies expanded their service scope in Hong Kong, as well as how the reforms in the education system and teaching curriculum of mainland China affected those in Hong Kong in the 1930s.
Lok Sin Tong, one of the most remarkable charitable organizations in pre-war Hong Kong, formally expanded into the education field in 1929 with the establishment of the Lok Sin Tong Free School. The School was located at 32 Dai Tit Street, and its aim was to provide free education to children from Kowloon City who had formerly been deprived of schooling. The School began accepting male applicants in 1930. The first principal was Tam Kit-Sang, and the second was Wong Bun-Po. The School offered primary education and a four-year curriculum focusing on Chinese education. By 1938, when a new campus was established, the School’s number of students exceeded 300. However, soon after the outbreak of the Pacific War and Japanese occupation of Hong Kong in December 1941, the School was forced to close its doors.
This dissertation comprises six chapters. The first defines the term “free school” and reviews the history of research on the Lok Sin Tong Free School. The second chapter outlines the historical development of Kowloon City and the Kowloon Walled City prior to 1941, and discusses how the local Kowloon City culture was key to the reestablishment of Lok Sin Tong’s services in the late 1920s following a suspension of services early in the century. The third chapter traces the origins and narrates the development of Lok Sin Tong from 1880 to 1941, with an emphasis on the improvement in its services under the leadership of Tam Kit-Sang and Chan Cho-Chak. The fourth chapter investigates the Lok Sin Tong Free School between 1929 and 1941, with special attention paid to its size, the quality of its teachers, its administration, curriculum and pedagogy, and student performance. An evaluation of the School’s overall effectiveness on the basis of these criteria follows. The fifth chapter presents a comparative study of the teaching and learning activities of the Lok Sin Tong Free School and those of the (1) Long Jin Free School and (2) Tung Sin Tong Free School. This comparison reveals the transformation of and changes in Chinese education in Hong Kong. The last chapter concludes the dissertation with a discussion of the interactions among free schools, benevolent societies, and the local community and culture in Hong Kong.published_or_final_version
Chinese Historical Studies
Master
Master of Arts
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Le, Min Sook. "Source créative et construction narrative dans les nouvelles de Kim Dong-ri (1913-1995)." Paris 7, 2010. http://www.theses.fr/2010PA070093.
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Cette étude de la vie et l'œuvre d'un des principaux écrivains modernes coréens, Kim Dong-ri (1913-1995), discute essentiellement de ses multiples sources de création et de la construction narrative de ses nouvelles. Rarement étudié en Occident, cet auteur, très attaché à son monde d'origine, cherche à atteindre l'ultime finalité de l'existence par l'expression littéraire. Il propose ainsi la notion de « troisième humanisme », synthèse de l'humanisme de la période hellénique et de la Renaissance. Ce travail retrace sa biographie d'après les sources existantes et examine sa pensée littéraire dans son contexte historiqueThis study about the life and thought of one of the main modem Korean writers, Kim Dong-ri (1913-1995), essentially discusses his multiple sources of the creation and the narrative construction in his short novels. The author, who is rarely studied in the West and who attaches himself to his original world aims the ultimate finality of the existence through the literary expression. He therefore proposes the notion of "third humanism" which is the synthesis of those of the Hellenic period and of the Renaissance. This work builds his biography from the existing sources and analysis his thought of literature in its historical context
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Utsugi, Akira. "Merger-in-Progress of Tonal Classes in Masan/Changwon Korean." Language Research Institute, Seoul National University, 2009. http://hdl.handle.net/2237/19631.
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Greenfield, Lawrence Frederic. "Toys, children, and the toy industry in a culture of consumption, 1890-1991." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1247843037.
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Murnane, Owen D., J. K. Kelly, B. Prieve, and Owen D. Murnane. "Tone-Burst-Evoked Otoacoustic Emissions and the Influence of High Frequency Hearing Loss in Humans." Digital Commons @ East Tennessee State University, 2000. https://dc.etsu.edu/etsu-works/1921.
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Massolin, Philip A. "What's past is prologue, Canadian intellectuals, the Tory tradition and the challenge of modernity, 1939-1970." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0008/NQ34810.pdf.
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Silva, Danielle de Luna e. "Representações de gênero e etnia em Amada, de Toni Morrison, e Ninguém para me acompanhar, de Nadine Gordimer." reponame:Repositório Institucional da UnB, 2007. http://repositorio.unb.br/handle/10482/2992.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2007.Submitted by wesley oliveira leite (leite.wesley@yahoo.com.br) on 2009-12-08T17:34:19Z No. of bitstreams: 1 2007_DanielledeLunaeSilva.pdf: 572794 bytes, checksum: be881fdab8dec719ca13fa01e7b8ab5f (MD5)
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Este estudo teve como objetivo realizar uma leitura comparada entre duas obras literárias escritas por mulheres em fins do século XX: Amada, da afro-americana Toni Morrison, e Ninguém para me acompanhar, da sul-africana Nadine Gordimer. Os pressupostos teóricos que fundamentaram nossa análise consistem nos estudos sobre pós-colonialismo e literatura de Homi Bhabha, Terry Eagleton, Stuart Hall, Ashcroft, Grifiths & Tiffin e Edward Said. Acerca de questões de gênero e etnia, utilizamos os trabalhos de Elaine Showalter, Barbara Christian, Mae Gwendolyn Henderson, bell hooks, Hazel Carby, Kari Winter, Deborah White, Angela Davis, Paul Gilroy, entre outros. Procuramos identificar e analisar as similaridades e diferenças nas representações de gênero e etnia nas duas obras, além de relacioná-las a outros aspectos pertinentes à nossa pesquisa, tais como diáspora, pós-colonialismo e literatura comparada. Tanto Amada quanto NPMA encenam uma tentativa de superação de diversos obstáculos comuns às duas protagonistas, relacionados à desconstrução de um passado colonial e racista. O pertencimento ao mesmo gênero fez com que as duas heroínas enfrentassem desafios semelhantes no que tange à luta contra o sexismo e a subversão da ordem patriarcal. Dessa forma, podemos afirmar que elas compartilham da necessidade de libertação, transformação e reconstrução de suas identidades e vidas, assim como do desejo de desfazer-se de um passado terrível. Contudo, é inegável que as estratégias de subversão e transgressão utilizadas por essas duas mulheres são profundamente marcadas pela diferença étnica entre as protagonistas, diferença que, igualmente, determinou a maneira como foram afetadas pelo horror do racismo. _____________________________________________________________________________________ ABSTRACT
This research aimed at comparing two novels written by female writers in the end of the twentieth century: Beloved, by the Afro-American writer Toni Morrison and None to accompany me, by the South-African artist Nadine Gordimer. Our theoretical framework consists of the studies on post-colonialism and literature by Homi Bhabha, Terry Eagleton, Stuart Hall, Ashcroft, Grifiths & Tiffin and Edward Said. Concerning gender and ethnicity, the studies developed by Elaine Showalter, Barbara Christian, Mae Gwendolyn Henderson, bell hooks, Hazel Carby, Kari Winter, Deborah White, Angela Davis, Paul Gilroy, among others, were essential to our analysis We tried to identify and analyze the similarities and differences in the representations of gender and ethnicity in the two narratives, as well as relate them to other relevant aspects to our study, such as diaspora, post-colonialism and compared literature. Both Beloved and None to accompany me depict an attempt to overcome several obstacles faced by the two protagonists related to the deconstruction of a colonial and racist past. Belonging to the same gender, both heroines faced similar challenges concerning the struggle against sexism and subversion of the patriarchal order. Thus, we can affirm that they share the need to transform and reconstruct their lives and identities, as well as the desire to undo a terrible past. However, it is undeniable that the strategies of subversion and transgression employed by these women are deeply marked by the difference in their ethnic groups, a difference that determined the way they were affected by the horror of racism.
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Hélie, Claire. "Les Nords poétiques, poétique du Nord (Basil Bunting, Ted Hughes, Tony Harrison et Simon Armitage)." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030156.
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Séparé du Sud pastoral, de la capitale londonienne et d’Oxbridge par une frontière moins géographique que culturelle, le Nord de l'Angleterre a une géographie variable en fonction des besoins du discours. Une constante discursive parcourt cependant la littérature sur la région : marqué par ses rudes conditions climatiques, jadis peuplé de barbares, en butte aux invasions et ravagé par la Révolution Industrielle, le Nord serait en marge de la sphère poétique. Or, à partir des années 1960, dans le cadre d'une redécouverte des marges de l'ex-empire et d’une dissolution des frontières nationales due à la mondialisation, le Nord revendique son droit à figurer à part entière au cœur de la carte poétique. Les poésies de Basil Bunting, de Ted Hughes, de Tony Harrison, et de Simon Armitage nous invitent à parcourir ces Nords géographiques, historiques, culturels, mais avant tout poétiques. Ces quatre poètes, nés dans le Nord, ont en commun d’avoir pris une distance, sinon physique, du moins intellectuelle, avec la région, ce qui leur a permis de poser un regard critique. Le mouvement nostalgique de retour à la terre natale amorce une réappropriation sur le plan de l’imaginaire de cet espace colonisé par des discours dépréciatifs. Les poètes y découvrent une source intarissable de créativité et partent en quête d’une langue qui résorbe l’écart entre nordicité et poéticité : l'impur accent barbare devient axiome poétique. Comment cette poésie du Nord met-elle en question l'anglicité et la tradition poétique anglaise en même temps qu'elle la structure ? Si « poésie du Nord » il y a, quelles en sont les réalisations dans la voix, le rythme et la forme poétiques ?Divided from the pastoral South, London and Oxbridge by a frontier that is less geographical than cultural, Northern England has been constructed through shifting discourses. One discursive feature though has been constantly present in the literature on the region : since the place is forbidding (not the least because of its grim weather), since it used to be populated with barbaric tribes and provided a buffer against even more barbarian invasions, since it was devastated by the Industrial Revolution, the North is excluded from the poetic sphere. Yet since the 1960s, in a context of peripheries emerging from the former empire and of national frontiers disappearing due to globalisation, the North has claimed its right to hold a central place on the poetic map. Basil Bunting, Ted Hughes, Tony Harrison and Simon Armitage have participated in reconfiguring geographical, historical, cultural, but, most importantly, poetic Norths. The nostalgic return to the region where they were born and bred reads as a creative and critical reappropriation of a space that has been colonised by derogatory discourses. The poets discover an inexhaustible source of inspiration and set on a quest for a language that would bridge the gap between northerness and poetry : their impure barbarian accent becomes a poetic axiom. How does this Northern English poetry question Englishness and the English poetic tradition while constructing them ? If « Northern English poetry » does exist, how does it show in terms of poetic voice, rhythms and forms ?
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Kühn, Ulrich. "Sprech-Ton-Kunst : musikalisches Sprechen und Formen des Melodrams im Schauspiel- und Musiktheater (1770 - 1933) /." Tübingen : Niemeyer, 2001. http://www.loc.gov/catdir/toc/fy054/2003445063.html.
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Sylvanise, Vanessa. "Poétique de la dissimulation dans les œuvres de Toni Morrison et de Derek Walcott : différence et nouveauté dans la culture." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080033.
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Tous deux écrivains afro-descendants de langue anglaise, faisant partie de la « diaspora noire », Toni Morrison et Derek Walcott sont reconnus pour l’éclairage poétique qu’ils offrent sur leur histoire et sur leur culture respective : les États-Unis pour Morrison et les Caraïbes pour Walcott. Cependant dans les œuvres, à la place des normes de révélation et de visibilité, se perçoit un « non-pouvoir » voir la culture, rejoignant un « non-pouvoir » dire l’histoire à la naissance des groupes culturels représentés. Malgré leurs spécificités poétiques, tous deux donnent forme à une même poétique de la dissimulation, qui problématise le concept de culture en le soumettant aux secrets entourant l’histoire de l’esclavage et du colonialisme qui leur est commune. Bouleversant les normes énonciatives, et à travers des personnages signés par un même mal ontologique relié à la différence raciale, les deux écritures donnent forme poétiquement au « problème noir » énoncé par Frantz Fanon, et « disent sans dire tout en disant » (Édouard Glissant) des secrets historiques et culturels que nous partageons. Poétique performative venant perturber les frontières linguistiques et énonciatives, la dissimulation engendre les questionnements suivants : qu’est-ce que signifie « noir », renvoyant à une différence raciale aussi bien en anglais (black) qu’en français, et aussi bien dans les textes, qu’au sein de notre contexte ? Comment passe-t-on de la différence raciale à la différence culturelle ? Comment cette différence est-elle produite ? Que signifie la « diaspora » ? Et comment les œuvres poétiques renouvellent-elles la culture, quand celle-ci apparaît problématique et négativée au départ ?Toni Morrison and Derek Walcott, both English mother tongue writers from Afro-descendants, being part of the "black diaspora", are famous for the poetic analysis they propose about their history and their culture; the United States for Morrisson on the one hand, the Caribbean for Walcott on the other hand. However in their works, instead of the revelation and visibility standards, one can perceive a "no-power" to see culture along with a "no-power" to tell the history that gave birth to the cultural groups which are represented. Despite their poetic specificities, both give shape to the same poetics of dissimulation that puts the concept of culture into question submitting it to the secrets related to the history of slavery and colonialism that they both have in common. Shaking up the enonciation standards, using characters struck by the same ontological evil related to racial difference, both writings give shape poetically to the "black problem" enounced by Frantz Fanon and "say without saying while saying anyway" (Édouard Glissant) historical and cultural secrets that we share. As a performative poetics perturbing the linguistic and enunciative frontiers, the dissimulation produces the following questions: What does "black" mean, referring to a racial difference in English (black) as well as in French, but also in literature and within our context? How do we shift from a racial difference to a cultural difference? How is this difference produced? What does "diaspora" mean? How poetic works can renew culture when it appears problematic and negative from the very start?
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Lourenço, Lucilia Teodora Villela de Leitgeb. "Traduzindo o intraduzível : estudo de duas traduções em língua portuguesa de Beloved, de Toni Morrison." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/114417.
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Este estudo analisa duas traduções em língua portuguesa da Beloved, de autoria de Toni Morrison, em Português do Brasil, uma de Evelyn Kay Massaro (1994), outra de José Rubens Siqueira (2007). Enfatiza as diferenças e/ou semelhanças entre ambas, a partir de um levantamento preliminar das características do dialeto Black English Vernacular, empregado pela autora, e as respectivas traduções desse dialeto. A comparação do original com as duas traduções processou-se com base em postulados teórico-críticos da Literatura Comparada e dos Estudos de Tradução. Em um primeiro momento, examinam-se seleções específicas do uso das formas do Black English Vernacular em detalhes, a fim de verificar a eficiência neste aspecto em ambas as traduções em Português e mostrar os recursos usados pelos tradutores e os resultados obtidos. Após, emite-se nosso ponto de vista sobre a análise mencionada anteriormente, tentando formular uma hipótese geral sobre os fenômenos observados com reflexões sobre os problemas envolvidos na tradução de dialetos.This paper analyses two Portuguese translations of Beloved by Toni Morrison into Brazilian Portuguese, made by Evelyn Kay Massaro (1994) and other by José Rubem Siqueira (2007). It emphasizes the differences and/or similarities between them, based on a preliminary investigation whose main focus was the use of Black English Vernacular used by the author and their respective translations. The comparison of the original work with its translations was based on theoretical and critical postulates of Comparative Literature and Translation Studies. At first, specific excerpts of the use of Black English Vernacular forms in the text were selected and examined in detail, in order to establish the efficiency of this aspect in both Portuguese translations and to show the resources used by the translators and the results achieved. In second place, this work presents our point of view about the afore mentioned analysis, trying to formulate a general hypothesis for the observed phenomena. It raises questions about the literary dialects and the problems involved in their translation.
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Scott, Peyton. "Érotiques ou Pornographiques? Une Enquête du Procès du ‘Love-Shop’ 1969 Curiosités Désirables." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/191.
Повний текст джерелаАнотація:
Le Monde a couvert un dossier sur la proximité d'un 'love-shop', "1969 Curiosités Désirables", à une école le printemps 2012. La Confédération nationale des associations familiales catholiques (CNAFC) et l’association CLER Amour et Famille avaient poursuivi le « love-shop » dans le 4e arrondissement à Paris, plaignant que la vente des sex-toys à 90 mètres d’un collège est une infraction de la loi de protection de l’enfance (2007) qui interdit à la vente des objets à caractère pornographique à moins de 200 mètres d’un ‘établissement d’enseignement'. Le dossier se concentrait sur la signification des termes qui définies les lois aussi que le genre des jouets : ce qui est pornographique, lubrique, etc. La défense, à travers un sexologue, une militante féministe, et le gérant, insiste sur la nature pragmatique et l’espèce créatif de leurs objets, insinuant que le public général et sain – les jeunes aux vieux – profite de leur industrie. « ‘Nous sommes dans une action idéologique’, a expliqué le défenseur, exprimant que « la définition de la pornographie faite par ces associations condamne en filigrane la masturbation ».
Ce dossier a inspiré une enquête du plaisir de la vie privée qui, normalement clandestin, tient l’attention du public. Les sex-shops du monde ont subis une grande évolution au cours de la dernière décennie par l’obscène lubrique et vers le pudique, et même le chic. Les patrons ont changé leurs jouets, leur langage, leurs services supplémentaires, même l’emplacement de leurs magasins, tout en effet d’un nouveau sentiment de viabilité. Il semble – et ils disent – que leur but soit de recréer la sexualité féminine en haute voix de la révolution sexuelle et la libération des femmes en France. Et en réponse, ils ont gagné un fort soutient et une nouvelle clientèle par des femmes jeunes et âgées.
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Bomfim, Leonardo Corrêa [UNESP]. "Os tons de Zé: transformações paradigmáticas na obra de Tom Zé (1967-1976)." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/110650.
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000795213.pdf: 2976419 bytes, checksum: c5725acf60dc23f9c8f160299db8f827 (MD5)Esta pesquisa aborda parte da obra do compositor, arranjador, cantor, instrumentista, escritor e performer Antônio José Santana Martins, popularmente conhecido como Tom Zé. Propôs-se uma análise transdisciplinar sobre a sua produção artística situada entre os anos de 1967 e 1976, discutindo cinco discos do músico, reveladores da transição entre estes dois momentos, desde o início de sua carreira (1967) – em sua fase tropicalista –, até seu disco Estudando o samba, gravado em 1976. Este disco se mostrou de grande importância, pois, de acordo com o compositor H. J. Koellreutter (1915-2005), inaugurou – por meio da música Toc – uma nova proposta na estrutura composicional do artista, enquadrando-se na Estética Relativista do Impreciso e do Paradoxal e no conceito de tempo quadridimensional do teórico alemão. Este conceito, posteriormente, direcionou a pesquisa para outras noções associadas a mudanças de paradigma, observadas tanto na arte quanto na ciência moderna (física quântica e relativista) dos séculos XX e XXI. Buscou-se nesta pesquisa, elencar elementos na obra de Tom Zé condizentes à esta mudança paradigmática, com o intuito de compreender com maior profundidade as transformações estéticas e composicionais do artista no recorte temporal selecionado. Como uma análise estritamente técnico-musical convencional não seria capaz de envolver a totalidade da obra deste artista multimidiático, seu trabalho ainda foi analisado sob aspectos estéticos, históricos e sociopolíticos que englobam, justificam e podem contribuir para a compreensão de sua música. Assim, também foram verificadas as letras das músicas, performances, indumentárias, além dos seus discursos; considerando-se ainda materiais como artigos, entrevistas, capas de discos, entre outros. Desta forma, foi possível constatar as diversas nuances e gradações do compositor em suas transformações musicais
This research broaches part of the work of the composer, arranger, singer, player, writer and performer Antônio José Santana Martins, popularly known as Tom Zé. It was proposed a transdisciplinar analysis about his artistic production placed between the years 1967 and 1976, discussing five records of the musician, revealers of the transition between these two moments, since the beginning of his career (1967) - in his tropicalist phase - until his album Estudando o samba, recorded in 1976. This LP showed large importance because, according to the composer H. J. Koellreutter (1915-2005), it inaugurated - through the music Toc - a new proposal in the compositional structure of the artist, that fits in the Relativistic aesthetics of Imprecise and Paradoxical and in the concept of quadridimensional time of the German theorist. This concept subsequently directed the research to other notions associated with paradigm shifts, observed both in art and in modern science (quantum and relativistic physics) of the XX and XXI centuries. It was sought in this study, to list elements in Tom Zé’s opus consistent with this paradigm shift, in order to understand more deeply the aesthetic and compositional changes of the artist in the time frame selected. As a strictly conventional technical and musical analysis would not be capable to involve this multimidiatic artist’s totality work, his job was also analyzed under aesthetic, historical and socio-political aspects that encompass, justify and can contribute to his music comprehension. Therefore, also the lyrics, performances, clothing were verified, in addition to his discourses; considering even materials like articles, interviews, album covers etc. Thus, it was possible to observe the different nuances and gradations of the composer in his musical transformations
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Kim, Simon. "Une éthique de la création : Une étude sur les nouvelles de Kim Tong-in." Paris 7, 2005. http://www.theses.fr/2005PA070023.
Повний текст джерелаАнотація:
Ce travail envisage le projet esthétique qui sous-tend l'oeuvre nouvellistique de Kim Tong-in (1900-1951), un auteur qui entendait créer une littérature coréenne moderne en rupture avec toute tradition littéraire. En utilisant le dogme des courants littéraires en vogue dans la Corée colonisée par le Japon, nous cherchons à dégager l'originalité et la spécificité du projet esthétique et littéraire de cet auteur. Contre la majorité des critiques et spécialistes de la littérature de cette période, nous envisageons le projet littéraire de Kim Tong-in comme inscrit en plein dans son contexte historique et politique, et placé sous le signe d'une quête de l'identité nationale perdueThis thesis examines the underlying aesthetical project behind the short stories of Kim Tong-in (1900-1951), an author who meant to create a modern Korean literature marking a beak with literary traditions. Using the dogma of literay trends in vogue at that time in a Korea under Japanese colonial rule, we intend to draw the originality and specificity of the aesthetical and literary project of Kim Tong-in. Against most critics and specialists of the Korean literature of that era, we look at his literary project as fully part of its historical and political context, carried out under the sign of a quest for a lost national identity
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Tang, Pui-hang. "A study of the Boys' and Girls' Clubs Association of Hong Kong, 1935-1960 1935 zhi 1960 nian jian Xianggang xiao tong qun yi hui zhi yan jiu /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31686084.
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Baskin, Richard Lee. "Act I, Scene 2 of Hamlet: a Comparison of Laurence Olivier's and Tony Richardson's Films with Shakespeare's Play." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500951/.
Повний текст джерелаАнотація:
In act I, scene 2 of Shakespeare's Hamlet, one of the key themes presented is the theme of order versus disorder. Gertrude's hasty marriage to Claudius and their lack of grief over the recent death of King Hamlet violate Hamlet's sense of order and are the cause of Hamlet's anger and despair in 1.2. Rather than contrast Hamlet with his uncle and mother, Olivier constructs an Oedipal relationship between Hamlet and Gertrude--unsupported by the text--that undermine's the characterization of Hamlet as a man of order. In contrast, Tony Richardson presents Claudius' and Gertrude's actions as a violation of the order in which Hamlet believes.
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Clark, Colleen (Musician). "The Evolution of the Ride Cymbal Pattern from 1917 to 1941: An Historical and Critical Analysis." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505181/.
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The purpose of this study is to provide a historiographical and musical analysis examining the jazz ride cymbal pattern, from its inception on woodblock, small accessory cymbals, hand cymbal mechanisms and brushes through what becomes known as the modern-day ride cymbal pattern. This research examines a wide array of drummers and bandleaders, with the objective of identifying the earliest recordings of this important addition to jazz drumming, and popular music history while analyzing the ride cymbal pattern's evolution through definitive recordings. The study begins with the earliest known recordings that clearly display the pattern as it is played on any of the instruments mentioned above. The research concludes with the jam sessions of the early 1940s at Minton's Playhouse, where the pioneer of bebop drumming, Kenny Clarke, experimented with altering the pattern. At this point, the pattern reach its final level of maturity and has since experienced no subsequent major modification. The historical and geographical analysis uses relevant literature from the field of jazz history in order to interpret and evaluate the impact of the the overall trajectory of the music and players. By surveying newspaper and magazine articles, archival interviews, and photographic sources, combined with audio and film analysis, it is clear that drummers navigated a path to the maturation of the pattern.
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Tine, François d’Assise Khéyane. "Figure allégorique de la maison, le trauma et l'abjection dans la production littéraire post-Nobel de Toni Morrison." Thesis, Montpellier 3, 2020. http://www.theses.fr/2020MON30010.
Повний текст джерелаАнотація:
Cette thèse analyse les cinq derniers romans de Toni Morrison, à savoir Paradise, Love, A Mercy, Home et God Help the Child. Cette étude cherche à explorer le topos de la maison/foyer (house/home) dans tous les sens du terme—y compris la représentation allégorique des Etats-Unis dans l’expérience noire américaine comme maison hantée par la violence raciale et sexuelle—pour interroger l’héritage de la violence masculine et politique ainsi que le trauma africain américain qui hantent la communauté noire. Si la maison est considérée comme le symbole d’un imaginaire psychique, au cœur des textes à l’étude réside le sens même de l’écriture de Morrison : transcender les blessures du passé, transformer et réimaginer la maison comme un espace de ressourcement et d’autonomie. En d’autres termes, malgré les expériences traumatiques qui ont fragilisées toute perception de la notion de home et d’appartenance, il appartient aux personnages de se reconstruire un réel chez soi et ainsi surmonter leurs traumas.S’inscrivant au carrefour des cultural studies et trauma studies, chaque chapitre de la thèse est consacré à l’étude d'un roman et se concentre sur l’écriture de l’altérité et de l’altérisation comme moyen pour mettre à nu la difficile relation qu’entretiennent les noirs américains avec les notions d’appartenance et de maison/foyer alors qu’ils s'efforcent de reconstruire un vrai foyer dans une terre d’animosité raciale profonde. S’appuyant sur les théories postcoloniales, le black feminism, la théorie de l’abjection, les études de genre et les théories gothiques, l’analyse des romans sélectionnés se penche sur les problèmes de rupture familiale, de rupture des communautés, de marginalisation socio-économique et les différentes formes d’exclusion et de violence genrée que les Africains Américains continuent d’endurer sur le sol états unien afin de mieux percevoir leurs traumas. En raison des déplacements forcés ou volontaires, de l’omniprésence de la violence intraraciale et des traumas résultant de la domination masculine et des carences affectives maternelles, les textes à l’étude illustrent que l’idée de home n’est que vague promesse pour bon nombre de noirs américains. Plutôt que de considérer le concept de maison/foyer comme un lieu purement géographique ou un espace physique, ce dernier doit être perçu comme un idéal imaginé qui permet une meilleure connaissance de soi. La déconstruction des notions mythifiées de masculinité et de race qui entravent toute conscience de soi et véritable croissance spirituelle est au cœur du projet littéraire de Toni MorrisonThis dissertation analyzes Toni Morrison’s final five novels, namely Paradise, Love, A Mercy, Home and God Help the Child and seeks to explore the trope of home in every sense of the word—including the allegorical representation of the United States in the black American experience—as a house haunted by both racialized and sexualized violence to probe the legacies of masculine and political violence as well as the trauma of dispossession that haunts African Americans. Home has been considered as the symbol of psychic imagination and at the core of under scrutiny lies its power to generate healing: transcending the wounds of the past, re-envisioning and transforming the home into self-nurturing and self-validating place rely on the characters’ awareness of their traumas and on their deepening sense of personal responsibility. In other words, the literary texts under study maintain that, despite the characters’ traumatic experiences which have disrupted their notions of home and belonging, it is the characters’ endeavor and personal duty to reconstruct a real sense of home by working through their traumas.At the intersection of literary studies, cultural studies, and trauma studies, each part of the dissertation is devoted to the study of a novel and focuses on the writing of Otherness and the process of Othering as means by which Morrison explores the nightmarish yet complex relationship African Americans have experienced when it comes to home and belonging and how they endeavor to reconstruct a sense of home in a land of deep racial animus. Through the prism of postcolonial theories, black feminist thought, the theory of abjection, gender studies and gothic theories of race, Morrison’s later novels portray issues of broken families, ruptured communities, and socio-economic marginalization and force the reader to reconsider the different forms of exclusion and gendered violence African Americans continue to endure in the U.S. Because of traumatic displacements, the pervasiveness of intraracial violence and the traumas ensuing from any kind of domination, the texts under scrutiny contend that home is only a vague promise for many black Americans. I shall maintain that rather than a specific geographical or physical location, home must be regarded as an imagined ideal that enables healing and self-validation. Central to Morrison’s literary project is the deconstruction of idealized notions of manhood and race that impede self-awareness and true spiritual growth
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Fukuchi, Hidetoshi. "Begleitungsmusik zu einer Lichtspielszene, Op. 34 evidence of Arnold Schoenberg's musikalische Gedanke /." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4519/.
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Composition for Arnold Schoenberg is a comprehensible presentation of a musical idea (musikalische Gedanke); the totality of a piece represents the idea. For tonal works, he defines Gedanke as a process of resolving the "tonal relation" or "tonal problem." Contrary to the numerous tonal examples illustrating the notion of Gedanke, Schoenberg hardly expounds on the Gedanke principle for his atonal and twelve-tone repertoires. This study reevaluates Schoenberg's compositional philosophy and aesthetics including Gedanke, comprehensibility, Grundgestalt, and developing variation in light of his compositional practices in Begleitungsmusik zu einer Lichtspielszene, Op. 34. Although Schoenberg denies the existence of a tonal problem and hierarchy among pitches in twelve-tone compositions, the registral placement found in Op. 34 indicates certain functionality assigned to each pitch-class, producing a sense of "departure and return." The approach here elucidates the "idea" of Op. 34, in which the large-scale formal organization unfolds through contextually emphasized tonal relations. This study also explores Schoenberg's concept of the multi-dimensional presentation of a musical idea. Even though Schoenberg's discussion of musical coherence is usually limited to the immediate musical surface, I believe that he was also aware of an extended realization of foreground motives in the sense of Heinrich Schenker's "concealed motivic repetition." This analysis of Op. 34 demonstrates how the enlargement of a surface motive facilitates an understanding of the relation between the parts and the whole, which is perceived as the totality of Gedanke.
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Petrella, Diane Helfers. "The Tone Clock: Peter Schat's System and an Application to His Etudes for Piano and Orchestra, Opus 39." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc5517/.
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The scope of this study includes relevant background information on Peter Schat and his compositions and process, an explanation of the Tone Clock system and a detailed analysis of one of his compositions, the Etudes for Piano and Orchestra, Opus 39. The intent is to demonstrate how the Tone Clock naturally evolved from the practices of the Second Viennese School and how it relates to both new and existing modern music. The study is divided into five chapters. Chapter 1 presents a brief introduction to Peter Schat and the Tone Clock. Chapter 2 provides a more detailed biography of Peter Schat and traces the development and evolution of his compositional techniques, ultimately culminating in the Tone Clock. Chapter 3 provides a basic explanation of the Tone Clock itself, with demonstrations of various components through musical examples and illustrations. Chapter 4 is a detailed analysis of the Etudes for Piano and Orchestra, Opus. 39. Chapter 5 summarizes the results of the study, with special attention to the impact of the Tone Clock on performance from the perspective of the performer. The analysis of the Etudes was completed by using the Tone Clock as an analytical tool, aided by the composer's original manuscript and sketches for the work. The goal of the study is to establish the value of the Tone Clock as both a compositional and analytical tool.
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Barroso-Fontanel, Marlène. "Toni Morrison et l'écriture de l'indicible : minorations, fragmentations et lignes de fuite." Thesis, Université Clermont Auvergne (2017-2020), 2019. http://www.theses.fr/2019CLFAL003.
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Par l’écriture, Toni Morrison cherche à rendre leurs voix à ceux qui ont été interdits de mots. Auteure engagée, elle veut redonner à la minorité noire sa place centrale dans l’Histoire des États-Unis. Elle propose ainsi une ré-écriture de l’Histoire au travers de sa trilogie historique, composée de Beloved, Jazz et Paradise, ré-écriture déjà en germe dans son second roman, Sula. À travers l’étude de ces quatre romans, cette thèse se propose de mettre au jour la généalogie de l’indicible dans l’œuvre de Toni Morrison, mais aussi d’analyser le lien dynamique entre minoration et écriture chez cette auteure qui revendique son statut de romancière noire américaine. Les femmes occupent une place centrale dans notre corpus car, à la minoration raciale qui relègue déjà les Africains-Américains en marge de la société américaine, s’ajoute pour les femmes noires la minoration sexuelle qui les réduit à un corps-objet. Mais chez Toni Morrison, cette double minoration, et la fragmentation qu’elle entraîne, deviennent des lignes de fuite, au sens deleuzien du terme, qui (dé-)structurent son écriture. La minoration ne s’entend alors plus comme soustraction, mais comme création. Toni Morrison trace ainsi dans ses textes des lignes de fuite créatrices qui s’échappent du cadre de la page vers un en-dehors du langage où se dit le désir de résister et de survivre du mineurToni Morrison’s writing aims at giving their voices back to those who were deprived of words. As a committed writer, Toni Morrison wants to highlight the central role of the black minority in the History of the United States. She then offers a new version of History as she rewrites it through her historical trilogy comprising her novels Beloved, Jazz and Paradise, to which can be added her second novel, Sula, where the seeds of the rewriting of History can already be found. Through the analysis of these four novels, the objective of this doctoral thesis is to excavate the genealogy of the unspeakable in Toni Morrison’s work, and to analyze the dynamic relationship between minoration and writing for an author who’s « insisted – insisted ! – upon being called a black woman novelist. » Women play a central part in the four novels we are studying because, to the racial minoration that already marginalizes African-Americans in the American society must be added for black women the sexual minoration which turns them into a mere body-object. But this double minoration, and the fragmentation it leads to, become in Toni Morrison’s work “lines of flight”, according to Gilles Deleuze’s terminology, which (de-)construct her writing. Minoration is therefore no longer to be understood as subtraction but as creation. Thus, Toni Morrison draws in her texts the lines of flight of creation which leak out of the page towards the outside of language where one can hear the desire for resistance and survival of the minor
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Sutra, Christian. "Ecrire la femme afro-américaine : identité et lyrisme dans les oeuvres de fiction de Gayl Jones et de Toni Morrison." Bordeaux 3, 1993. http://www.theses.fr/1993BOR30027.
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Gayl jones et toni morrison nous donnent une autre representation dans la fiction des femmes noires. Elles questionnent les stereotypes en relisant l'histoire americaine dans le mouvement de la memoire ; elles exposent vie publique et vies privees en creant d'autres heroines, des origines a nos jours : leurs heroines sont les femmes noires "arretees", "immobilisees" ou "emergentes". Si gayl jones montre la douleur des femmes noires, toni morrison suggere la possibilite pour ces femmes, dans le risque du saut depenser autrement et de reconstruire un nouveau narcissisme pour la femme afro-americaine. C'est dans l'ambition d'une autre ecriture de la fiction qu'elles ecrivent et chantent la femme noire, tout a la fois heritieres de la culture orale afro-americaine et novatrices. Dans le lyrisme des blues, leur concentration et leur poesie, les heroines de gayl jones se racontent et se creent. Toni morrison, elle, transcrit la vie afro-americaine dans le roman polyvocal post-moderne. Son choix sera celui de l'ecriture metaphorique et du realisme magique. Mais comme celles de gayl jones, ses histoires et fables adressees a un lecteur auditeur nous fascinent en nous instruisantGayl jones and toni morrison convey a completely different representation of afro-american women in american letters. The long-accepted american stereotypes related to sex and gender are challenged by them through their revisionary treatment of american history in the public and private lives of their heroines. (re) membering for them is at once a necessary and complex process of getting at the truth concerning african-american women. These writers present portraits of "arrested" or "emerging" black women beginning with the period of the "peculiar institution" through to presentday america. Gayl jones insists on the psychological and physical damage suffered by black women whereas toni morrison suggests in her narratives the potential for building a new jubjectivity which involves risk but offers the means to explore the redemptive possibilities of female coalescence. Both authors have inaugurated new forms of writing which incorporate their black oral tradition. Taking their inspiration from the blues -their lyricism, sheer strength, concentration and poetic qualities- gayl jones' heroines sing who they are and where they come from. Toni morrison writes her fiction using a highly metaphorical prose which comes close to the magic realism of garcia marquez
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Pinto, Marcela de Araujo [UNESP]. "O que é um lar? Revisão do conceito histórico de nação em Paradise (1997), de Toni Morrison, e em Rosa Maria Egipcíaca da Vera Cruz (1997), de Heloisa Maranhão." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/127568.
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O estudo comparativo entre os romances Paradise, da autora norte-americana Toni Morrison (1997), e Rosa Maria Egipcíaca da Vera Cruz, da autora brasileira Heloisa Maranhão (1997), apresenta a criação de imagens metafóricas de lar como forma de revisão da história oficial de formação nacional. Em ambos os romances, a construção de cronotopos subvertidos recria vivências internas do passado em lares inclusivos, elaborando espaços que revisam as características de externalidade associadas a identidades nacionais de formação histórica. A história compartilhada de vivências internas constrói locais de atuação para personagens que vivem à margem da sociedade, marcando a existência dessas vidas dentro do panorama geral de grandes eventos históricos ocorridos nos Estados Unidos e no Brasil. Com a subversão da história oficial, os romances históricos reformulam o entendimento sobre o passado e o presente, reformulando as identidades sociais compostas por determinações históricas.
The comparison between Toni Morrison's Paradise (1997) and Heloisa Maranhão's Rosa Maria Egipcíaca da Vera Cruz (1997) shows how these two novels create metaphorical images of home as a way of revising the official history of national formation. By constructing subverted chronotopes, both novels recreate inner lives in inclusive homes, presenting spaces that revise external characteristics associated with national identities. The shared history of inner lives forms the ground for marginalized characters to participate in society, making it possible for these characters' lives to be registered in the broader panorama of historical events in the United States and in Brazil. By subverting official history, historical novels reformulate our knowledge about the past and the present, reformulating social identities determined by historical characteristics.
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Pappas, Caroline History Australian Defence Force Academy UNSW. "Law and politics : Australia's war crimes trials in the Pacific, 1943-1961." Awarded by:University of New South Wales - Australian Defence Force Academy. School of History, 1998. http://handle.unsw.edu.au/1959.4/38701.
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This dissertation examines the trial of Japanese war crimes conducted by Australia between 1945 and 1951; although the study commences in 1943, when the Government first focussed on the issue, and ends in 1961, when the issue was closed. Beyond providing an overview of the trials the thesis addresses the major criticism of the trials by looking at whether the trails were fair and if they fulfilled Australian aims. This is addressed within the context of the two elements of international law, the political, and the legal, and examined in each of the three sections. The Policy section establishes the political context of the trials by examining the influence of the international community and the Australian Government. Both influenced structure and progress rather than the final application of the law. When Australian attitudes were incongruous with international views, a perception that Australia was harsh and repressive developed even though justice was an important part of the Government???s agenda. A study of legal aspects of the trials commences in the Procedures section. Australia???s legislation and regulations are explained with particular emphasis on the more controversial aspects, and a comparison is made with the war crimes instruments of other Allies trying the Japanese showing many similarities between the regulations used by other nations and Australia???s. Procedures also discusses the framework for the Australian trials, the procedures used to bring a case to trial, the process used in court, the review process and the carrying out of sentences. Such a thorough study of the procedural basis is necessary to evaluate the individual trials. Practical examples of some of the procedural problems are also discussed in the following section ??? Practice. This section reviews a number of trials and the various types of crimes and the claims made in defence to show how Australia applied and interpreted the law. The study finds many similarities between Australia???s application of the law and the practice of other nations, indicating that Australian courts were applying what was considered to be customary expectations of behaviour. Throughout the trials there was little evidence of vindictiveness or revenge, either by Government or in the courts. Both were faced with significant problems, which were not always dealt with well but overall the trials were fair and those involved were concerned that justice should not only be seen to be done, but actually be done.
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Turner, Tracy Peterson. "Themes of Exodus and Revolution in Ellison's Invisible Man, Morrison's Beloved, and Doctorow's Ragtime." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2689/.
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In my dissertation I examine the steps in and performance of revolution through the writings of three Postmodern authors, Ralph Ellison, Toni Morrison, and E. L. Doctorow, in light of the model of the biblical Exodus journey and the revolution which precipitated that movement. I suggest that the revolution which began with the Israelites' bondage in Egypt has provided the foundation for American literature. I show that Invisible Man, Beloved, and Ragtime not only employ the motif of the Exodus journey; they also perpetuate the silent revolution begun by the Israelites while held captive in Egypt. This dissertation consists of six chapters. Chapter One provides the introduction to the project. Chapter Two provides the model for this study by defining the characteristics of the Exodus journey, Moses as the leader of the Israelites, and the pattern of revolution established by Michael Walzer in Exodus and Revolution. In Chapters Three, Four, and Five, I apply the model established in Chapter Two to the individual texts. In Chapter Six, I draw three conclusions which arise from my study. My first conclusion is that the master story of the Exodus journey and the Israelites' liberation from Egypt informs all Western literaturewhether the literature reinforces the centrality of the master story to our lives or whether the literature refutes the significance of the master story. Second, the stages of revolution present in the biblical Exodus are also present in twentieth-century American literature. My third conclusion is that authors whose works deal with an exploration of the past in order to effect healing are authors who are revolutionary because their goal is to encourage revolution by motivating readers to refuse to accept the status quo and to, instead, join the revolution which demands change. They do this by asking questions which are characteristic of that which is postmodernnot so much looking for answers as demonstrating that questioning what is, is appropriate and necessary.
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Biľ, Tomáš. "Výkon pracovníků a motivace v organizaci (a návrh IT pro jejich podporu)." Master's thesis, Vysoká škola ekonomická v Praze, 2010. http://www.nusl.cz/ntk/nusl-19131.
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Paper summarizes the importance of motivation and performance of employees in the organization. The primary goal of this paper is to propose solutions to increase motivation and thus performance. Meet this target would require the implementation of many activities, from finding present, the IS architecture, through detailed analysis of individual systems, which affect workers. Important too was the definition of where all the motivation and performance in man takes and how it can be measured. In the practical part I have done, according to gained experience, using the LMI survey questionnaire to identify weak areas of performance motivation. These results, I finally offered advice and firstly from a psychological perspective, and secondly in terms of IT and its main information system, the workers who come into contact every day and therefore has a huge impact on them. Contribution of the author of this thesis was to identify and increase motivation, through analysis and recommendations specified by the selected methodologies.
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Tolentino, Eneida Gomes. "O educador e o brincar: reflexões sob a perspectiva sócio-histórico-cultural." Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/191.
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A pesquisa “O educador e o brincar: reflexões sob a perspectiva sócio-histórico-cultural” se insere na linha de Linguagem, Conhecimento e Formação de Professores do Programa de Pós-Graduação em Educação da Universidade Federal de Juiz de Fora/UFJF – Minas Gerais, propondo-se a investigar sobre processos de mediação constituídos pelos educadores nos momentos de brincadeira. O que motivou tal pesquisa foi o desejo de compreender as possibilidades de mediação dos educadores no contexto da brincadeira, tendo por objetivos: compreender se os brinquedos e artefatos são considerados por estes como possibilidades de mediação nos momentos de brincadeiras e fomentar a reflexão sobre o significado do ato de mediar. Fundamentada na perspectiva sócio-histórico-cultural, tem como aporte teórico as contribuições de Leontiev, Lúria e Vigotski. O desenvolvimento metodológico foi pautado na Pesquisa Crítica de Colaboração (MAGALHÃES, 2010), em que, num movimento colaborativo, por meio de atividades coletivas de reflexão, pesquisador e colaboradores puderam compartilhar e (re) construir significados que possibilitaram outras compreensões sobre os fazeres pedagógicos. Tais reflexões foram fomentadas em dois momentos, a saber, uma entrevista dialógica, na qual compartilhamos saberes que fundamentam nossos fazeres; e uma sessão reflexiva, com a proposta de análise coletiva e colaborativa de situações cotidianas de brincadeiras. As transcrições resultantes desses momentos de reflexão foram analisadas de forma argumentativa com base nas categorias da Nova Retórica de Perelman e permitiram compreender que por meio das atividades reflexivas, em colaboração, foi possível compartilhar ideias que reverberou em um movimento de mudança.
The research "The teacher and playing: reflections on the socio-cultural-historical perspective" is included in Language, Knowledge and Training Teachers line of the Education Graduate Program of the Federal University of Juiz de Fora / UFJF - Minas Gerais, proposing to investigate about mediation procedures established by educators in playful moments. What motivated this research was the desire to understand the educators’ mediation possibilities in the context of playing, establishing as its goals: understanding whether the toys and playful artifacts are considered by these educators as a possibility for mediation in moments of play and encouraging reflection on the meaning to the mediate act. Based on socio-cultural-historical perspective, it has as the theoretical basis Leontiev, Luria and Vygotsky´s contributions. The methodological development was guided by the Critical Collaboration Research (MAGALHÃES, 2010), in which, in a collaborative movement through reflection collective activities, researcher and collaborators were able to share and (re) construct meanings that allowed other understandings on the pedagogical tasks. Such reflections were promoted in two moments, namely, a dialogical interview, in which we share knowledge underlying our tasks; and a reflective session, with the proposal of collective and collaborative analysis playing daily situations. The resulting transcripts of these reflection moments were analyzed in an argumentative form based on Perelman´s New Rhetoric categories and allowed realize that through reflective activities in collaboration, it was possible to share ideas that reverberated in a changing movement.