Constata-se que a reforma sanitária brasileira representa um avanço na direção de uma concepção avançada de sistema de saúde. Entretanto o SUS, com toda a materialidade das reformas ao nível macro induzidas a partir dos avanços na legislação, a implantação da regionalização e hierarquização da assistência, e dos instrumentos de gestão, assim como todas as grandes organizações modernas, padece de problemas de coordenação na operação de suas ações. Este trabalho pretende discutir as possibilidades e limites das mudanças organizacionais induzidas pela implementação do SUS na configuração dos sistemas locoregionais de saúde, à luz das experiências internacionais e das contribuições mais recentes das teorias organizacionais, no contexto da transição do fordismo à acumulação flexível. A partir do referencial da teoria dos sistemas, considera-se a contribuição das teorias organizacionais fordistas, pós-fordistas e pós-modernistas na especificidade do campo da saúde coletiva, para discutir a efetividade dos seus subsistemas cibernéticos do SUS: controle, avaliação, regulação, auditoria e vigilância em saúde, no complexo contexto da configuração do poder deste setor. Verifica-se que o SUS, constituído a partir de culturas organizacionais fordistas, do antigo INAMPS e da Saúde Pública tradicional, não tem obtido êxito em configurar estruturas organizacionais competentes, na medida em que reproduz os modelos tradicionais nos seus sistemas de controle. Esta dificuldade em parte deve-se ao momento histórico, que fez coincidir o momento dos avanços na legislação, em direção à ampliação do direito à saúde, com o momento das reestruturações dos aparelhos estatais decorrente da crise global do modo de produção fordista, e com as profundas transformações demográficas, epidemiológicas e da tecnologia da assistência médica. Por outro lado, a disponibilidade de soluções pósfordistas propicia um padrão para a conformação de novas regras e novos modos de regulação do sistema de saúde, que induzam a comportamentos auto-reguladores por parte dos prestadores de serviços de saúde, considerando as metas de equidade e de melhoria da saúde da população. Conclui-se que a necessária reforma do setor saúde demanda o fortalecimento de uma tecno-burocracia protegida contra injunções político-partidárias, que possibilite a incubação uma cultura organizacional profissional em todas as esferas de governo e níveis de gestão, que incentive um trabalho em saúde competente e moralmente comprometido com as finalidades do SUS nesse país. / The Brazilian Health Reform is a step ahead towards an advanced health system concept. However, despite the concrete legal progress achieved through the 1988 Constitution, expressed in reforms at the broader level, aiming to organize the assistance in a hierarchyzed services network, and the promulgation of norms for the decentralized system local management, the Brazilian Unified Health System (SUS), as other large modern organizations, experiences a lack of coordination in its operations. This work aims to discuss the possibilities and limits of the organizational changes induced by this implementation, in the very configuration of regionalized health systems from the viewpoint of international experience with health systems reforms, taking into account the most recent contributions of the organizational theories, considering the transitional context from fordism to post-fordism. From the theoretical perspective of systems, we consider the contribution of organization theories, regarding the specificity of the field of public health, to argue the effectiveness of its regulation subsystems: control and evaluation, regulation, medical audit, health Information and also the surveillance and disease control systems, within the complex configuration of political power in this sector, in Brazil. SUS, characterized by a mix of two fordist organizational patterns the National Institute of Social Security (INAMPS) and traditional Public Health systems fails to build competent organizational structures, since it reproduces traditional models in its controlling systems. These difficulties are due in part to historical determinants, which made the legal advances towards a more comprehensive health right coincide with State reforms arisen from the crisis of fordist regulation patterns, and also with worldwide deep societal transformations, like demographic and epidemiological transitions, and the high costs of medical technology. On the other hand, the availability of post-fordist organizational solutions provides patterns for new rules and ways for health systems regulation, which lead to self-regulated behaviors on the part of health care providers, considering the goals of equity and improvement of populational health. The author conclude that necessary health care reform in Brazil requires the strengthening technobureaucracy protected against political-partisan injunctions, allowing the incubation of a professional organizational culture in all government and managerial levels, fostering the competent health work, committed with SUSs purposes.

Made available in DSpace on 2016-12-08T16:52:04Z (GMT). No. of bitstreams: 1 7038.pdf: 533100 bytes, checksum: 704ceddafd657c5999ef203c15c3380e (MD5) Previous issue date: 2007-08-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation aims to show the presence of post-modern elements in drama that have been produced in Santa Catarina State (Brazil) since the 1990s, throughout the analysis of four authors drama production at a steady pace in the State: André Silveira, Carlos Silva, Fábio Brüggemann and Rogério Christofoletti. Thus, we initially set series of definitions related to post-modernity and post-modernism by using the concepts from some of the most important names in this area like Frederic Jamenson, Kristian Kumar, Steven Coonor, David Harvey and Linda Hucheton. From those concepts and definitions, we set a contemporary drama panel focusing on post-modern elements along with a conceptual analysis from current and also main post-modern drama procedures that are also used in drama works produced in Santa Catarina. From this point, we show a brief view from the catarinense drama during the last decade to insert later dramatists works analyses that are focused on this study. It is possible to infer, after verifying several definitions related to this study, that postmodernity is not characterized as one located movement but as a non-restrictive dissemination of one state or an intellectual production stage that will be able to live and mix with different cultures, communication means and expression modes by proposing a two- way road between peripheral and non-peripheral artistic productions. This allows, without any guarantees, to a reciprocal knowledge that may overcome quality assessments based on proximity or distance from the big centers / Esta dissertação pretende demonstrar a presença de elementos pós-modernos na dramaturgia produzida em Santa Catarina, a partir da década de 1990, através da análise da obra dramatúrgica de quatro autores com produção constante no estado: André Silveira, Carlos Silva, Fábio Brüggemann e Rogério Christofoletti. Para tanto, inicialmente, traçamos uma série de definições do pós-modernismo e da pós-modernidade, utilizando alguns dos mais proeminentes estudiosos da área na atualidade, como Frederic Jamenson, Kristian Kumar, Steven Coonor, David Harvey e Linda Hucheton. A partir destes conceitos e definições efetuamos um painel da dramaturgia contemporânea com enfoque em elementos pós-modernos, bem como uma análise conceitual dos principais procedimentos dramatúrgicos pós-modernos da atualidade, que por sua vez, também são utilizados na dramaturgia produzida em Santa Catarina. Deste ponto em diante efetuamos um breve panorama da dramaturgia catarinense na última década, para posterior inserção das análises das obras dos dramaturgos enfocados neste trabalho. A partir disso é possível inferir que a pós-modernidade, como pudemos verificar nas várias definições que norteiam este trabalho, não se caracteriza como movimento localizado, mas como uma disseminação irrestrita de um estado, ou estágio da produção intelectual capaz de conviver e se infiltrar nas mais díspares culturas, meios de comunicação e modos de expressão, propondo assim uma via de mão dupla entre a produção artística periférica ou não, o que possibilita, embora não garanta, um conhecimento recíproco que ultrapasse avaliações de qualidade baseadas proximidade ou distância de grandes centros

A acolhida que as imagens eletrônicas e sintéticas vêm recebendo por parte da crítica é reveladora de um novo otimismo tecnológico e abre espaço para a discussão sobre as conseqüências das novas tecnologias sobre a sociedade. Fala-se, em relação a estas imagens, de um novo regime de visibilidade e de um novo imaginário – numérico – que transgride nossos códigos perceptivos e cognitivos e nossa relação simbólica com o mundo. Contudo, a desvinculação destes sistemas imagéticos de qualquer prática social mais ampla e da produção imagética que as antecedeu – especialmente a pintura, a fotografia e o cinema – é ilusória. Em muitos casos, os elementos apontados como marcas de ruptura são muito mais a potencialização de questões já presentes na história da arte do que a constituição de um novo sistema representativo. A potencialidade aberta por estes novos processos de enunciação da imagem deve, portanto, ser pensada a partir de uma perspectiva mais longa, inserida na lógica cultural do Capitalismo contemporâneo. Com isso, na esteira das colocações de Walter Benjamin e de Adorno, trataremos de ver o que as configurações sociais contemporâneas e o advento das novas tecnologias fazem com a arte, situando as imagens eletrônicas dentro das relações de produção de seu tempo. / The welcome that electronic and synthetic images have from the critique reveals a new technological optimism and gives room to the discussion of the consequences of the increasing interference of new technologies in society. Related to these images, is discussed a new regime of visibility and a new imaginary – run by numbers – that transgresses our perceptive and cognitive codes and our symbolic relation with the world. However, the well- known idea of an epistemic breach between the new images and the previous image production systems (in particular painting, photography and cinema) is illusory. Very often, the elements presented as marks of the rupture are in a great deal more the enhancement of questions already present in art history than the constitution of a new representational system. The open possibility created by these new processes of enunciation of image must, therefore, be interpreted from a wider perspective, rooted in the cultural logic of contemporary Capitalism. Thereby, following the path of Walter Benjamin and Adorno, we shall try to see what the contemporary social configurations and the advent of new technology do to art, placing the electronic images inside the productive relations of its time.

Made available in DSpace on 2016-08-18T12:54:33Z (GMT). No. of bitstreams: 1 Dissertacao- DavidFariasAragao.pdf: 836029 bytes, checksum: 5f56186d51e1a0799b6f05257aff569b (MD5) Previous issue date: 2015-03-27 / This study analyzes the criminal investigation of illicit committed in cyberspace, taking into account the context of post-modernity, especially the risk and information society and its impact on the Criminal Law and Criminal Procedure Law, where a strong sense of insecurity experienced in the face of the lack of control of dangers coming from social and technological advances and new conducts that endangers life in community. The aim is to trace the constitutional paradigm to develop a valid criminal investigation in order to reconcile the binomial warranty and efficiency in the exercise of this state activity, using the balancing technique to allow the coexistence of fundamental rights to liberty and the States duty to promote public safety. The network action for illicit behavior in a virtual environment has brought great difficulties to materialize it before the courts and assign responsibility in criminal context, requiring the use of special investigative techniques that sometimes clashes with fundamental rights. After the examination of some of these special investigation techniques that are being applied by the Union s Judicial Police in cases relating to electronic bank fraud, it was found which of those can be applied without preliminary judicial authorization or only after jurisdictional analysis to define in a concrete case the possibility of balancing the investigated person s fundamental right, in particular privacy, and others related to. / O presente trabalho tem por objetivo analisar a investigação criminal de ilícitos praticados no espaço cibernético levando em consideração o contexto da pós-modernidade, mormente a sociedade do risco e da informação e seus reflexos sobre o Direito Penal e Processual Penal, onde predomina uma forte sensação de insegurança experimentada pela sociedade em face da falta de controle dos perigos decorrentes dos avanços sociais e tecnológicos e das novas condutas lesivas ao convívio da coletividade. Busca-se traçar o paradigma constitucional para o desenvolvimento válido da investigação criminal de sorte a compatibilizar o binômio garantismo e eficiência no exercício dessa atividade estatal, utilizando-se da técnica do balanceamento para permitir a coexistência dos direitos fundamentais à liberdade e à privacidade em face do dever do Estado de promover a segurança pública. A atuação em rede para prática de crimes em ambiente virtual trouxe grandes dificuldades para demonstrar em juízo a materialização de ilícitos e atribuir responsabilidades em âmbito criminal, sendo necessária a utilização de técnicas investigativas especiais que por vezes se chocam com direitos fundamentais. Após o exame de algumas dessas técnicas especiais de apuração que estão sendo aplicadas pela Polícia Judiciária da União para os casos relativos às fraudes bancárias eletrônicas, verificou-se quais podem ser empregadas sem autorização judicial e quais apenas com a reserva de jurisdição para que se defina no caso concreto a possibilidade de relativização de direito fundamental do investigado.

Esta dissertação tem como foco analisar, através de um viés crítico, o diálogo entre curadoria e arquitetura presenciado nas exposições de Arte Contemporânea, tomando como estudo de caso a Bienal Internacional de Arte de São Paulo, à luz de suas expografias. Dentro do amplo contexto das Bienais é estabelecido um recorte que compreende as primeiras edições da década de 1980, decorrente de um contexto sócio-cultural mais amplo, amparado por uma conjuntura econômica local e internacional. O recorte incide sobre a XVI e a XVIII Bienais, edições realizadas, respectivamente, nos anos de 1981 e 1985. Este período, correspondente ao da redemocratização do Brasil, configura-se como peculiar dentro da história deste evento e representa um ponto de inflexão, quando foram reunidas as condições para saída de uma crise institucional verificada ao final dos anos de 1970. Esta escolha está intimamente vinculada a um novo contexto sócio-cultural que configurado na pós-modernidade. Esta nova lógica é conseqüência do capitalismo avançado, no qual os eventos culturais encontram-se inseridos na ótica de mercado e sujeitos a uma indústria. Sob estas condições é estabelecido um novo palco para as ações no campo das instituições que, através dos seus espaços expositivos, exercem o papel de enquadrar historicamente e legitimar as produções artísticas, contemplando assim a complexa pluralidade da Arte Contemporânea. Nos casos estudados, o espaço será compreendido pelo pensamento dos arquitetos e curadores envolvidos, submetidos a um dado momento histórico, o que os condicionou a revelar uma conjuntura cultural através da arte que propuseram a expor. Desta forma, a partir da análise proposta, será possível compreender as exposições como lugar de encontro entre o artista, sua arte e o espectador, encontro este mediado pela figura do curador e do arquiteto. Complementarmente, também foram investigadas as transformações no campo das artes plásticas a partir da segunda metade do século XX, os quais culminaram com as formas processuais e desamaterializantes das décadas de 1960 e 1970. Estas novas formas artísticas trouxeram conseqüências para o campo das exposições, que passaram a se readequar aos novos trabalhos de arte. As Bienais da década de 1980 são, de antemão, resultantes desta readequação, incorporando a arte a um discurso por elas estabelecido. / The focus of this dissertation is to analyze, through a critical bias, the dialogue between curatorship and architecture witnessed in the contemporary art exhibitions, taking as case study the Bienal Internacional de Arte de São Paulo, at the light of its expography. Within the wide context of these Bienais, clippings are established, which include the editions from the first half of the eighties, decurrent of a social and cultural wider context, supported by a local and an international economic conjuncture. The clipping concerns to the XVI and XVIII Bienais, editions accomplished, respectively, in 1981 and 1985. This period, corresponding to Brazils process of redemocratization, is configured as peculiar within the history of this event. Represents a point of inflection, where it was verified the meeting of exceptional conditions for exit of an institutional crisis in the end of the seventies. This choice is closely linked to a new social and cultural context configured in the post-modernity. This new logic is a consequence of the advanced capitalism, in which the cultural events are inserted in the optics of market and submitted to an industry. Under these conditions a new stage is established for the actions of the institutions that, through its exhibition spaces, assume the role to fit historically and to legitimize the artistic productions, thus contemplating the complex plurality of the contemporary art. In the studied cases, the space is understood through the architects and involved curators thought, submitted to a specific historical moment, which conditioned them to disclose a cultural conjuncture through the art that they propose to exhibit. In such way, from the analysis proposal, it will be possible to understand the exhibitions as place of meeting between the artist, its art and the spectator, mediated by the curator and the architect. Complementarily, it was also investigated the transformations in the field of arts from the second half of the twenty century, which had culminated with the dematerialized and process forms of art in the sixties and seventies. These new artistic forms brought consequences for the field of the exhibitions, which had to be readapted to the new works of art. The Bienais of the eighties are, of beforehand, resultants of these readaptations, incorporating the art to a speech established by them.

L’oeuvre anthropologique de Claude Lévi-Strauss a joui, dès les années cinquante, d’un succèsretentissant dans le champ des sciences humaines et sociales. Dans celui spécifiquement de l’art, ce futd’abord le cas, avant que l’ethnologue ne récuse rapidement toute alliance possible avec la créationmoderne. Face à ce désaveu brutal, par contrecoup, la pensée esthétique de l’anthropologue est depuisrégulièrement reléguée au rang des conservatismes. Il y a dans les arts plastiques, comme un malaiseLévi-Strauss. Partant de ce constat, le présent travail entend faire corps selon deux aspects étroitementmêlés.Le premier consiste à « servir » Lévi-Strauss. En effet, l’examen démontre qu’il est, par bien desaspects, difficile de réduire l’auteur des Mythologiques à la figure de l’amateur gêné par l’aspect radicaldes avant-gardes. Dans une approche apaisée, le débat avec l’art moderne est alors rouvert afin decomprendre les ressorts profonds du positionnement esthétique de l’anthropologue. Elargissant la focale,l’étude tente de saisir l’art selon une approche civilisationnelle. L’Occident, en tant qu’entité culturelle,est analysé au regard du primat accordé dès l’antiquité au logos et jusqu’à son expression moderne autravers de la pensée scientifique.L’autre aspect de ce travail consiste cette fois à « se servir » de la pensée lévi-straussienne dans lebut d’élaborer les bases d’une postmodernité débarrassée de l’écueil du « tout se vaut ». Des outils aupremier rang desquels le triangle culinaire ainsi que la méthode structurale, sont également convoquésafin d’instruire les possibilités d’un rééquilibrage entre pensée scientifique et pensée mythique. Sefaisant, le travail tente de montrer le caractère profondément poïétique de la pensée lévi-straussienneainsi que de répondre à la question posée par la poïétique de René Passeron : « Si l’art est exemplaire, illui faut dire en quoi. »De la rencontre entre les deux grands aspects précités, naît la thèse majeure de ce présenttravail. Celle-ci consiste à démontrer combien le malaise Lévi-Strauss n’est en fait que l’autre nom dumalaise postmoderne, sa forme paradigmatique. / Since the 50’s, Levi-Strauss anthropological work has enjoyed a huge success in the socialsciences as well as in the Arts. These were parallel until the ethnologist quickly refused every possiblealliances with modern arts. As a direct consequence of this brutal disavowal, the anthropologist'saesthetic thought is regularly pushed into conservatism, thus, the inception of a Lévi-strauss vexationwithin the plastic arts. It is upon this that this discussion will be based.On one hand, this work will use Lévi-Strauss's thought. Indeed, the author of theMythologiques can't be reduced to the image of an amateur uncomfortable with the radical side of theavant-garde's thought. We'll reopen the discussion about modern art in order to understand the roots ofthe aesthetic positioning of the anthropologist. The cultural point of view in the arts will be the centerof this work. The cultural entity of the western civilization is analyzed from the primal importance itgranted since the antiquity to the logos until its modern expression : the rational thought.On the other hand, this work is permitted by the levi-straussian way of thinking and elaboratesthe basis of a postmodernity freed from the « all is equal » problem. Many tools such as the culinarytriangle and the structural method will be employed in discussing this. They help in keeping the delicatebalance between the rational and the natural thought, Thus, this is an attempt to answer a questionraised in the poietics of René Passeron : « If art is an exemple, we must say in which way it is. »These two sides create the main part of this work which demonstrates how the Lévi-Straussvexation is actually the other name for the postmodern vexation. We could even say that it is itsparadigmatic form.

Originality is the most basic requirement for the copyrighting of a work and may be viewed as the mirror image of copyright infringement. In terms of section 2(3) of the Copyright Act, a work remains eligible for copyright even if the making thereof involved an infringement of copyright in some other work. However, a certain aspect or a feature of a work (relating to the “substantial part” requirement for copyright infringement; “substantial part” being understood from a hypertext rather than a linear point of view) cannot be infringing and original. In this thesis, the South African legal understanding of the originality concept is determined from case law. Specific attention is given to the meaning of “skill” and “labour”; the protection afforded to mere labour in South Africa and certain selected other jurisdictions; how the subjective nature of the originality test is affected by the “meritorious distinctiveness” requirement; and the degree of own skill and/or labour required for a work to be original and consequently protected. The present literary concept of originality is derived from literary discussions that appeared in newspapers and other publications in the wake of six “plagiarism scandals” which each caused a furore in Afrikaans literary circles. Even though the terminology used by littérateurs differs from that used in legal circles, originality essentially means the same for littérateurs and lawyers. Skill and/or labour as required by law is reflected in the literary “crucial distance” concept. The fact that a sufficient degree of skill and/or labour is required is reflected in the fact that the literary standard of a work is determined on the basis of how “tightly woven” a work is. Although a general protection of original ideas would negatively influence the free flow of information, measures for the protection of ideas are developing, particularly in the United States of America, where ideas (especially in the film industry) are a very valuable commodity. As Swarth proposes, applying the “novelty” and “concreteness” criteria in inverse ratio to each other could help to create an environment where idea purveyors and prospective buyers felt more free to negotiate and enter into agreements over original ideas. Postmodernism, a contemporary interpretative strategy that reaches into nearly every aspect of modern society, is discussed with specific reference to its interaction with originality. The influences of two phenomena of postmodernism on the originality concept, namely hypertext and Chaos theory, are investigated. Recommendations are made regarding measures aimed at the retention of talented authors and the original content of works in the wake of plagiarism scandals, while still holding the wrongdoer responsible for his actions. Certain suggestions are also made regarding the accessibility of courts and the supplementation of the few available precedents regarding originality in creative literary works. / Thesis (LLD)--University of Pretoria, 2007. / Private Law / unrestricted

This research is guided by the assertion that, as American society journeys through the post-modern transition, many established churches are struggling to respond adequately to cultural change within a fragmented generational context. It further is argued that the resulting ineffectiveness of many of these churches in transmitting the Christian tradition to Gen Xers, the first post-modern generation, threatens the ability of these churches to sustain their witness through this period. This project advances the hypothesis that, if established churches are to sustain their witness through the post-modern transition, they must engage in a process of missional renewal that encompasses Generation X. When considered from both a sociological and a theological perspective, this process must be seen as entailing a commitment to intergenerational reconciliation and justice. Chapter one provides an introduction to this study and explains how it is situated within the discipline of Practical Theology. Following Heitink (1999:6), Practical Theology is defined as “the mediation of the Christian faith in the praxis of modern society.” Chapter two offers additional theoretical foundations through an exploration of the intergenerational praxis of the church within the intergenerational praxis of society. In chapter three, essential historical background is provided through an exploration of the influence of modernity in shaping the praxis of American society, as well as the influence of the Christendom paradigm in guiding the church’s praxis. This chapter also explores the emergence of institutional structures that have fostered distance between the generations, as well as the impact of these changes upon the intergenerational praxis of the church. Chapter four examines the complexities associated with the post-modern paradigm shift. Generation X is introduced as a generation whose formative years most closely approximate this period. Generation X is shown to be a misunderstood and maligned generation possessing discontinuous cultural values. In chapter five, the “marriage” of Christendom and modernity is shown to limit the ability of established churches to respond faithfully to the post-modern turn. The intergenerational dynamics of these churches also are shown to hinder their response. This chapter demonstrates that the resulting absence of the first post-modern generation from these churches places their continued viability at risk. Chapter six explores the need for these churches to experience missional renewal. A case is made for the participation of Generation X as a crucial consideration in this pursuit. The issue of “process” is shown to be important in helping churches negotiate the challenges of missional renewal. Chapter seven advances the assertion that, from both theological and sociological perspectives, intergenerational reconciliation and justice must be seen as integral dimensions of the missional renewal process. In chapter eight, the argument developed in the preceding chapters is subjected to empirical evaluation. The results of a survey conducted among churches from five denominations lend credibility to this study’s hypothesis. The final chapter (nine) introduces the “Missional Change Model” as one strategic framework through which established churches might be guided in pursuing missional renewal. This chapter also demonstrates how this model might help to facilitate intergenerational reconciliation and justice. / Thesis (DPhil)--University of Pretoria, 2009. / Practical Theology / unrestricted

Scripture is God’s Word in human language – a truth reflected over 2000years of Church history. Without this truth, proper knowledge of God is impossible. All human efforts to come to a true and meaningful understanding of God, lead to a variety of religious “isms.” The pluralism, post-modernism and post-Christian society of the 21st century, brings its own challenges. Words mean nothing and truth is relative. There are, however, unique resemblances with the pluralism, pre-modern and pre-Christian society of the patristic. From a historical-theological perspective, the researcher points out that these resemblances could shed light on the current burning issue around the authority of Scripture. This historic continuity with the patristic and apostolic tradition is addressed in relation to Tertullian and Augustine. Both these Church Fathers had to give Biblical answer to the burning issues of their day that sought to undermine the authority of Scripture. The patristic’s emphasis on the authority of Scripture, stems from the unique unity between the Old and New Testament. It finds expression in the Apostolic preaching – regula fidei – the rule by which sound theology and godly living is guaranteed. Their historical-literal method of Biblical exegesis reflects a Christian worldview in contrast to the secular worldview of their day. In conclusion the researcher points out the relevance of this study for Southern-Africa. The confusion within the ranks of society, and the disillusionment of hundreds of thousands in Africa concerning the role of the Church, ask for clear direction and uncompromising answers on the fundamentals of the Christian faith with the framework of the authority of Scripture. / Dissertation (MA (Church History))--University of Pretoria, 2007. / Church History and Church Polity / unrestricted

Brian Castro, écrivain australien contemporain d’origine chinoise, auteur de dix romans, a été souvent appréhendé par la critique littéraire par le seul biais de ses origines. La lecture de son oeuvre, pourtant, révèle une esthétique et une puissance poétique qui dépassent largement cette catégorie réductrice.Afin d’établir les contours de cette esthétique, le présent travail s’est intéressé à quatre romans qui synthétisent un travail d’écriture de trente années : Birds of Passage (1989), After China (1992), The Garden Book (2005) et The Bath Fugues (2009). Nous brossons tout d’abord un historique de la littérature australienne et des enjeux sociétaux et culturels qui la sous-tendent pour déterminer quelles stratégies l’auteur met en oeuvre pour affirmer une identité littéraire singulière, ni totalement nationale, multiculturelle, ou (post)moderne.Cette singularité posée, nous avons recours à des outils d’analyse empruntant à divers courants de critique littéraire pour dégager les lignes de force esthétiques de l’oeuvre de Castro. La forme musicale de la fugue est en ce sens une clé d’entrée essentielle en ce qu’elle structure autant qu’elle inspire l’écriture de l’auteur, tant au niveau de la caractérisation, du récit ou encore de la diégèse, donnant ainsi naissance à une prose dont la force créatrice n’a rien à envier à la poésie. Pour le lecteur, le résultat en est une expérience de déstabilisation qui vise à l’amener à se questionner sur la perméabilité et la futilité des préjugés et catégories, qu’ils soient sociétaux, culturels ou littéraires / Australian writer Brian Castro is the author of ten novels, among which Birds of Passage (1989), After China (1992), The Garden Book (2005) and The Bath Fugues (2009) – the four works at the core of the present study. Owing to his Chinese origins and his elaborate style, literary criticism in Australia has labelled him an ethnic writer whose novels are deemed overly – and overtly – complex and opaque.Our thesis aims at establishing why Castro’s works, precisely because of their sophistication, deserve an alternate approach. We start with a historical survey of Australia’s “national” and “multicultural” literature. This will bring to light how Castro, being well aware of his nation’s love for social, cultural and literary categorizations, strives to break free from them.This desire permeates the whole of his literary endeavour, and our analysis borrows from several traditions of literary criticism to determine the characteristics of Castro’s unique aesthetics. To achieve this, the musical form of the fugue is a particularly powerful analytic tool, in that this musical genre allows us to better understand the elaborate mechanisms at work in the way the author approaches, among others, characterization, plot and diegesis.Far from the easy reads that Australia’s literature market promotes, Brian Castro’s unique works of fiction are an invitation to embrace destabilization in order to examine a prose whose poetic force will help the reader liberate themselves from established racial, cultural and literary categories.