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[pt] A presente dissertação tem como objetivo investigar a historicidade da forma literária de Moby Dick. Pretende-se examinar como epopeia e tragédia atuam como princípios organizadores do enredo, orientando também as discussões temáticas presentes na obra, que envolvem tradições intelectuais e religiosas diversas, tais como o puritanismo e a filosofia iluminista. Também será analisada a forma pela qual o autor problematiza a identidade estadunidense, ao apresentar, tanto em Ahab quanto em Ishmael, alternativas à tradicional imagem do herói americano, marcado por uma inocência pré-lapsariana, tal como elaborada, p. ex., nos ensaios do filósofo trancendentalista Ralph Waldo Emerson. Se a tragédia aparece no romance, por meio de um diálogo constante com as peças de Shakespeare, conservando suas características fundamentais, a epopeia, ligada ao discurso de Ishmael e à descrição dos selvagens no navio, se manifestaria de forma mais difusa, relacionada à tentativa de um resgate de um sentimento de totalidade da vida perdido na modernidade, e articulada a outros tipos de discurso, especialmente à enciclopédia e à forma do ensaio. / [en] This dissertation intends on investigating the historicity of the literary form of Moby Dick, by examining how epic and tragedy act as plot-organizing principles and coordinate the thematic discussions in the book, which involve diverse intellectual and religious traditions, like puritanism and the enlightment philosophy. It also analyzes how the auctor raises questions regarding a national American identity, as he presents, both in Ahab and Ishmael, alternatives to the traditional image of the american hero characterized by a pre-lapsarian innocence, as described in the essays of the transcendentalist philosopher Ralph Waldo Emerson. If tragedy manifests itself in the novel mantaining its essential features through a dialogue with the plays of Shakespeare, the epic, which relates to Ishmael s speech and the description of the savage characters aboard the ship, does it on more subtle and diffuse ways, which are related to an attempt to restore a feeling of totality in life that was lost in modernity. It also appears articulated to other types of speech, especially the encyclopaedic discourse and the form of the essay.

<p>The epic hero Diomedes is, in my opinion, considered a marginal hero, as he is relegated to a backbench in ancient Greek thought and ideology. I examine why this is the case, considering his role and impact in Homer's <em>Iliad</em>. Greek society valued its epic heroes beyond the words of the poets, yet some heroes received much more attention that others as central characters in tragedy and iconography, consequently regarded as favourites by mass audiences. I believe that examining a marginal hero like Diomedes is important in order to understand why Greek culture generally disregarded some warriors in favour of others, especially in the case of Diomedes, who displays heroic virtues more evidently than several other heroes who have received more attention. Overall Greek attitudes toward him offer an intriguing perspective on the epic heroes and the ways in which the Greeks idealized them. An examination of Greek literary, visual, and religious spheres of influence effectively aid in determining the reasons behind this phenomenon. In summary, this work attempts to understand Greek attitudes towards a hero who has received very little scholarly attention. The concept of the epic hero requires analysis of even the most neglected characters; one cannot understand Odysseus, Achilles, or Hector without examining Diomedes, who has a notable role in the very same tradition as the aforementioned heroes.</p> / Master of Arts (MA)

Kandidatuppsatsens syfte är att genom arkivstudie utföra en historiserande kontextuell analys av Utvandrarna (1971) och Nybyggarna (1972) med produktionsstudie som metod. Filmerna gjordes samtidigt och hade en inflationsjusterad budget på sjuttiofyra miljoner kronor, vilket gör inspelningen till den största satsningen inom svensk film på hela 1900-talet. Hur planerades och genomfördes en produktion av sådan storlek? Ända från de tidigaste idéerna kartläggs processen i syfte att dra slutsatser kring dåtidens svenska kulturklimat, filmsamhälle och tekniska utveckling. Arkivmaterialet hämtas från Svenska Filminstitutets biblioteksarkiv och delas in trefaldigt: Manussamlingen, Bengt Forslunds personarkiv och Bildarkivet. Utifrån detta material återges händelseförloppet i detalj, kompletterat med senare vittnesmål från skådespelare och filmteam. Produktionen värdesatte framför allt verklighetstrogenhet och i stort sett alla scener filmades på plats vid historiska kvarlämningar eller ute i naturen, ofta med lokala amatörskådespelare i de mindre rollerna. Dessutom studeras Jan Troells roll som regissör, fotograf och klippare utifrån Bill Nichols teori om dokumentära representationsperspektiv, med fokus på Troells användande av drag från observerande och deltagande dokumentärfilm för att öka verklighetsintrycket. Slutsatsen blir att filmerna å ena sidan har en tydlig bakgrund i den svenska guldålderns litterära tradition, å andra sidan estetiskt och produktionsmässigt i mångt och mycket tillhör det sena 60-talets nyskapande kulturella våg. / The aim of the bachelor's thesis is to contextualize and historicize the production of The Emigrants (1971) and The New Land (1972), through arhival material. The films were made simultaneously and had a budget of 74 million Swedish Krona, adjusted for inflation, making them the Swedish film industry's biggest investment of the 20th century. How was a production of such scope planned and executed? The process is mapped out in order to draw conclusions around Sweden's cultural climate at the time, its film world and its technological developments. The archival material is taken from Svenska Filminstitutets biblioteksarkiv (The Swedish Film Institute's Library archive) and can be divided threefold:  Manussamlingen (the script collection), Bengt Forslund's personal archive, och Bildarkivet (the image archive). Using this material the events of the production are narrated in detail, completed by additional oral history given by the films' cast and crew. The production valued fidelity to reality above all and almost all scenes were shot on location, at historical sites or in nature, often with local amateur actors playing the minor parts. In addition, Jan Troell's role as director, photographer and editor is studied through Bill Nichols' theory of documentary modes, focusing on Troell's use of traits from the observational and participatory documentary modes to strengthen the impression of reality. In conclusion, the thesis finds that while the films are evidently a part of the literary tradition that goes back to the Swedish Golden Age, their aesthetics and means of production are closely tied to the innovative cultural wave of the late 60s.

This thesis examines the increasing sophistication of sixteenth-century French literary engagement with Virgil's Aeneid. It argues that successive forms of engagement with the Aeneid should be viewed as a single process that gradually adopts increasingly complex literary strategies. It does this through a series of four different forms of literary engagement with the Aeneid: translation, continuation, rejection and reconciliation. The increasing sophistication of these forms reflects the writers' desire to interact with the original Aeneid as political epic and Roman foundation narrative, and with the political, religious and literary contexts of early modern France. The first chapter compares the methods of and motivations behind all of the sixteenth-century translations of the Aeneid into French; it thus demonstrates shifts in successive translators' interpretations of Virgil's work, and of its application to sixteenth-century France. The next three chapters each analyse adaptation of Virgil's poem in a major French literary work. Firstly, Ronsard's Franciade is analysed as an example of French foundation epic that simultaneously draws upon and rejects Virgil's narrative. Ronsard's poem is read in the light of Mapheo Vegio's “Thirteenth Book” of the Aeneid, or Supplementum, which continues Virgil's narrative and carries it over into a Christian context. Next, Agrippa d'Aubigné's response to Virgilian epic in Les Tragiques is shown to have been mediated by Lucan's Pharsalia and its anti- epic and anti-imperialist interpretation of the Aeneid. D'Aubigné's inversion of Virgil is highlighted through comparison of attitudes to death and resurrection in Les Tragiques, the Aeneid and Vegio's Antoniad. Finally, Guillaume de Salluste du Bartas' combination, in La Sepmaine and La Seconde Sepmaine of the hexameral structure of Genesis with Virgil's narrative of reconciliation after civil war is shown to represent the most sophisticated understanding of and most complex interaction with the Aeneid in sixteenth-century France.

The Thesis analyses and evaluates how Gavin Douglas (Eneados, 1513) has refocused Virgil's Aeneid, principally by giving more emphasis to the serial particularity inherent in the story, loosening the narrative structure and involving the reader in its retelling. Chapter I pieces together (from the evidence not merely of what Douglas explicitly says, but of what his words imply) what for him a "text" in general is, and what accordingly it means for a translator or a reader to be engaged with it. This sets the scene for what follows. The next four Chapters look in turn at how he re-expresses important (metaphysical) characteristics of the story. In Chapter II his handling of time is discussed, and compared with Virgil's: the Chapter sets out in detail how Douglas consistently refocuses temporal predicates, foregrounding their disjunctiveness and making them differently felt. In Chapter III spatial position and distance are analysed, and Douglas' way of dealing with space is found to display parallels with his treatment of time: networks are loosened and nodal points are accentuated. In Chapter IV the way in which he presents individuals is compared with Virgil's, and a similar repatterning and shift reveals itself: Douglas provides his persons with firmer boundaries. Chapter V deals with fate, where Douglas encounters special difficulties but maintains his characteristic way of handling the story. The aim of these four Chapters is to characterise formally how Douglas concretises and vivifies the tale of Aeneas, engaging his readers throughout in the retelling. Finally, Chapter VI looks at certain general principles of translation theory (notably connected with the ideas of faithfulness and accuracy) and argues for a way in which Douglas' translation can be fairly experienced by the reader and fairly evaluated as a lively retelling which (albeit distinctive) is fundamentally faithful to Virgil.

This paper will explore the possibilities of using an automated self-made procedural tool to create real-time environments based on simple image masks. The purpose of this is to enable a concept artist or level designer to quickly get out results in a game engine and to be able to explore ideas. The goal of this thesis was to better understand how you can break down simple ideas and shapes into more complex details and assets. In the first part of this thesis, I go over the traditional workflow of creating a real-time environment. I then go on and break down my tool, what it does and how it works. I start off with a Photoshop file, make tools in Houdini and then utilize those in Unreal for the end result. I also argument about the time-saving possibilities with these tools. From the work, I draw the conclusion that these kinds of tools save a lot of time for repeating tasks and the creation of similar environments.

Made available in DSpace on 2016-04-28T19:59:01Z (GMT). No. of bitstreams: 1 Berilo Luigi Deiro Nosella.pdf: 517440 bytes, checksum: d451e316214cec8d93a007e898878fb4 (MD5) Previous issue date: 2007-03-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This master degree main objective is the analysis and the study of the dramatical workmanship composition Six Personages in Search of an Author , witch is studied here as Seis Personagens em Busca de um Autor by Luigi Pirandello (1867-1936), staged for the first time in 1921, in Rome / Italy, reaching success in the entire world and deeply influencing the art of the teatral representation of the century XX. The objectives of the research send to analyze the modern elements gifts in the text Six Personages in Search of an Author and to the verification of the specific items on this modern pirandellian text in debate with modernity and contemporality. Basically, here, the analysis if guideline in the reflection on the existence of a tension between tradition and renewal, characteristic of the modernity in general way and specific way of the workmanship of Pirandello. It is treated, therefore, of formal examining the renewal as crisis of the tradition while factor of revelation and denudation as crisis of the modern world that is present like a mean form in the workmanship of Pirandello and in the Modern Drama . The literary analysis of the pirandellian text was based, initially, in the theoretical debate on the question of the literary sorts for the definition of the concept of Modern Drama . For this issue, this thought followed a line that begins with Hegel, goes to Georg Lukács and finishes with Peter Szondi. Advancing in this way, it was turned back to the proper theoretical texts of Pirandello, mainly O Humorismo , wrote in 1903, that involves the modernity of the drama and how it would be articulated, later, in an artistic form. A critical historical pillar helped to support the recital of this work that had as purpose understand and context this workmanship of Pirandello in its time and the present time. It was established, a parallel between two authors: the Italian, contemporary Pirandello, Antonio Gramsci and the german, Walter Benjamin. This debate in allowed in such a way to invest them in the analysis of the tension between form and content, renewing the art of drama of Pirandello culturally (as content) and the respective esthetic way (as form) / Trata, a presente dissertação, da análise e do estudo da obra dramática Seis Personagens em Busca de um Autor, de Luigi Pirandello (1867-1936), encenada pela primeira vez em 1921, em Roma, Itália, alcançando sucesso no mundo todo e influenciando profundamente a dramaturgia do século XX. Os objetivos da pesquisa remetem à analise dos elementos modernos presentes no texto Seis Personagens em Busca de um Autor e à verificação das especificidades desse moderno pirandelliano em debate com a modernidade e a contemporaneidade. Basicamente, aqui, a análise se pauta na reflexão sobre a existência de uma tensão entre tradição e renovação, característica da modernidade de modo geral e de modo específico da obra de Pirandello. Trata-se, portanto, de formalmente examinar a renovação como crise da tradição enquanto fator de revelação e desnudamento de uma crise do mundo moderno que se apresentaria como uma forma fundamental na obra de Pirandello e no Drama Moderno . A análise literária do texto pirandelliano alicerçou-se, inicialmente, no debate teórico sobre a questão dos gêneros literários para a definição do conceito de Drama Moderno . Para tanto, esse pensamento seguiu uma linha que parte de Hegel, passa por Gyorgy Lukács e se finaliza com Peter Szondi. Avançando neste caminho, voltou-se aos próprios textos teóricos de Pirandello, principalmente O Humorismo, escrito em 1903, que compreende a modernidade do drama e como se articularia, posteriormente, numa forma artística. Sustentou ainda a fundamentação deste trabalho um pilar crítico-histórico que teve como finalidade compreender e contextualizar a obra de Pirandello em seu tempo e na atualidade. Estabeleceu-se, assim, um paralelo entre dois autores: o italiano, contemporâneo a Pirandello, Antonio Gramsci e o alemão Walter Benjamin. Esse debate nos permitiu investir na análise da tensão entre forma e conteúdo, renovando a dramaturgia de Pirandello tanto culturalmente (como conteúdo) quanto esteticamente (como forma)

Le corpus épique du 18e siècle en France, en Angleterre, en Pologne et au Danemark révèle trois types de survivance de l’épopée : (1) une survivance théorique dans la poétique spéculative (dont le modèle relativement incontesté est au 18e siècle l’Art poétique de Boileau), (2) l’épopée héroïque (comme la Henriade de Voltaire), toujours critiquée pour ses imperfections ; et (3) l’épopée comique (sur le modèle du Lutrin de Boileau), au succès bien plus unanime tant au 18e siècle qu’au regard de la postérité : The Rape of the Lock d’Alexander Pope, Peder Paars de Ludvig Holberg, Myszeis d’Ignacy Krasicki. L’épopée ne pourrait-elle ainsi survivre qu’au prix de sa dégradation de l’héroïque au comique ? Le poème héroïque serait-il donc tant étouffé par ses règles qu’il ne puisse exister dans la modernité qu’au prix d’un burlesque libérateur qui en relâche l’emprise ? Si, depuis la fin du 17e siècle, les échecs du genre épique sont régulièrement attribués à sa surthéorisation, il semble pourtant que l’héroïcomique se révèle au 18e siècle la forme par excellence de la régularité poétique. Loin d’être étouffé par ses règles, le genre épique tel que le conçoivent des théoriciens et des poètes inspirés par le classicisme français comme Alexander Pope, Ludvig Holberg, Charles Batteux, Ignacy Krasicki ou F. X. Dmochowski est à la fois régulier et vivant. L’efficacité du genre épique, qui englobe alors l’héroïcomique, dépend de son inscription dans un cadre formel « classique » qui se fonde largement sur les relectures de la Poétique d’Aristote au 18e siècle. Le reconstituer, c’est définir une « lisibilité classique » – c’est-à-dire un horizon d’attente esthétique et normatif dans lequel les règles ne sont pas des slogans, mais définissent réellement des pratiques poétiques signifiantes. La thèse explore, dans ses cinq parties, les implications de cette idée au niveau de la réception des textes épiques modernes (I), de la composition de l’ouverture épique conçue comme patrice du poème (II), des représentations de l’inspiration et du rôle du poète épique (III), de la fiction poétique (la « fable », IV) et de la textualité épique (diction et tableaux épiques, V). Les épopées anglaises, danoises ou polonaises étudiées témoignent ainsi des métamorphoses que connaît au 18e siècle le classicisme, européanisé et vivant – quand les ambitions refondatrices de Voltaire s’inscrivent en faux par rapport à une doctrine normative dont le poète français perçoit, moins que certains de ses contemporains, la productivité. / Considering an epic corpus from 18th-century France, England, Poland and Denmark, the epic genre can be said to exist in the 18th century in several forms. (1) As the theoretical object of speculative poetics (the main model of which is Boileau's Art Poétique). (2) As heroic epics, such as Voltaire's Henriade, which may enjoy success but are whose shortcomings are systematically pointed out by critics. (3) As comic epics (heavily influenced by Boileau's Lutrin), which achieve much greater success than their heroic counterparts both in the 18th century and today: Pope's Rape of the Lock, Ludvig Holberg's Peder Paars, Ignacy Krasicki's Myszeis. Can the epic genre then only survive through comic degradation? Is heroic poetry so smothered by speculative rules of art that it can only survive when burlesque subversion relaxes them?Whereas theoretical over-thinking has been, since the late 17th century, the go-to explanation for the many failures of early modern epic poetry, it seems that heroicomic poetry is actually a paragon of poetic regularity in the 18th century. Far from being asphyxiated by its rules, the epic genre as theorized and practiced by men of letters admirative of French neoclassicism such as Alexander Pope, Ludvig Holberg, Charles Batteux, Ignacy Krasicki or F. X. Dmochowski is both regular and very much alive. An epic is even more efficient the better it fits within a neoclassical framework heavily based on 18th-century reinterpretations of Aristotle's Poetics. To formulate this framework amounts to understanding "classical readability", a set of aesthetic and normative expectations within which poetic rules are not empty slogans but describe actual meaningful poetic techniques.This dissertation examines the implications of this idea with respect to the reception of early modern texts in the 18th century (I), how the opening lines of epic poems are seen to program the bulk of the work (II), the representation of the inspiration and social role of the epic poet (III), epic fiction (the "fable", IV), and the composition of the epic text itself (V). The aforementioned English, Danish and Polish epics are testaments to the transformations of neoclassical poetics and poetry through 18th-century Europe, whereas Voltaire's ambitious attempt at a reform of the neoclassical normative doctrine shows that, in contrast to some of his contemporaries, he failed to perceive its poetic conductivity.