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Suspense in the English novel from Jane Austen to Joseph ConradSmith, Nicholas January 1982 (has links)
Because of critical neglect, there is no established terminology to describe techniques of suspense. Borrowing from Aristotle, Koestler, and others, a new body of concepts is suggested and importantly, a distinction of tense is established, between types of suspense which relate to the narrative past, present, and future. The classical world's intuition of a connection between mental uncertainty and the physical state of hanging has conditioned Western man's notion of narrative suspense until a comparatively recent date. Eighteenth-century theories of the sublime helped to create an understanding that suspense was not necessarily painful. Through an analysis of novels by Jane Austen, George Eliot, Dickens, Hardy, and Conrad, an attempt is made to identify and evaluate the most common suspense strategies in the period's popular genres, notably the Austenian romance, mystery, and tragedy. The Austenian romance is compared to the detective story in that narrative presentation is determined by the need to control the reader's expectations, and to achieve an ending which is both satisfactory and surprising. The latter requirement may have contributed to the gradual disappearance of the authorial "voice" in the course of the nineteenth century, and a consequent reduction in the pleasures of irony and comedy. During the Victorian period, many genres are combined in the long novel, but mystery gradually advances in popularity and sophistication, to the point where narrative events are often inappropriately exploited as secrets. Tragedy involves a creative conflict between the reader's hopes and expectations, so he is permitted to glimpse the overall tragic process, and suspense is generated on the levels of theme and causaliy. The problems incurred by an inability or unwillingness to conclude structures of theme suspense are considered finally.
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Activating Play-Based Escape, Awakening CreativityKeichinger, Sabrina Deanne 16 May 2011 (has links)
Everyone participates in escape. The drive to escape is something we are born with. It is a force that has ties to our curiosity, as well as our profound psychological restlessness, and can even be seen in our displeasure with boredom.
This thesis introduces three forms of escape: pure diversions, games, and play. Focussing on a play-based escape, this thesis argues that this is the most important form of escape, because, through play, we promote our cognitive health and creativity.
This thesis develops three lines of investigation: first an understanding of what play is; second, through understanding the conditions, context, and disposition necessary in order to engage in a play-based escape; and third, a study of play through the review of architectural case studies.
It is through these investigations that this thesis will identify ten key strategies that architecturally accommodate play. These are: nature, complexity, dynamic, loose-parts theory, scale, the primitive, along a path, mystery, risk, and unmonitored feel. In order to develop a method of design which engenders an architectural atmosphere of play-based escape these characteristics are organized into three interconnected themes: a desire to explore the world around us, a desire for a dynamic stimulating environment, and the desire to be active and move our bodies. Finally, an architectural application of the design method concludes this thesis, with hopes to activate a play-based escape capable of awakening our creativity.
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Hard & soft : the male detective's body in contemporary European crime fiction /Mäntymäki, Tiina, January 2004 (has links) (PDF)
Diss. Linköping : Univ., 2004. / År 2005 tilldelat nummer i serien Linköping studies in arts and science.
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FLUXOS E TROCAS NOS ANTIGOS CULTOS DE MISTÉRIO: APROXIMAÇÕES E DISTANCIAMENTOS SIMBÓLICOS EM JOÃO 2, 1-11. / Flows and trade in Ancient Mystery Cults: Symbolic similarities and differences in John 2, 1-11.Rocha Júnior, Ruy 31 August 2011 (has links)
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Previous issue date: 2011-08-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study examines some symbolic resignifications of the Ancient Mystery Cults,
as well some developments of their historical realities.
This dissertation evaluates the possible flows and exchanges occurring in
Mediterranean environments, focusing on the reframes that the mysteries suffered in these
borders, also discussing on their possible influence on a biblical passage.
In the investigation some hypothesis will be made concerning the relation with the
mysterical cults of the Hellenistic expansion, as well their possible interfaces with a primary
source of the New Testament.
Based on the study of the major mysteries in the Roman frontiers, and in the
evaluation of the New Testament literature, will be considered the approaches and symbolic
differences between the Dionysian cult and the text of John 2, 1-11. / O presente estudo analisa algumas ressignificações simbólicas dos Antigos Cultos de
Mistério, bem como alguns desdobramentos de suas realidades históricas.
Essa dissertação avalia os possíveis fluxos e trocas ocorridos nos entornos
mediterrâneos, concentrando-se nas ressignificações que os mistérios sofreram nessas
fronteiras, discorrendo igualmente sobre sua possível influência numa perícope bíblica.
Na investigação serão levantadas hipóteses referentes a relação dos cultos mistéricos
com a expansão helenística, bem como suas possíveis interfaces com uma fonte primária do
Novo Testamento. Com base no estudo dos principais mistérios presentes nas fronteiras
romanas, e na avaliação da literatura neotestamentária, serão consideradas as aproximações
e distanciamentos simbólicos entre o culto Dionisíaco e o texto de João 2, 1-11.
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Eram realmente pitag?rico(a)s os homens e mulheres catalogado(a)s por J?mblico em sua obra Vida de Pit?goras?Silva, Josildo Jose Barbosa da 25 October 2010 (has links)
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Previous issue date: 2010-10-25 / Pythagoras was one of the most important pre-Socratic thinkers, and the movement he
founded, Pythagoreanism, influenced a whole thought later in religion and science.
Iamblichus, an important Neoplatonic and Neopythagorean philosopher of the third century
AD, produced one of the most important biographies of Pythagoras in his work Life of
Pythagoras. In it he portrays the life of Pythagoras and provides information on
Pythagoreanism, such as the Pythagorean religious community which resembled the cult of
mysteries; the Pythagorean involvement in political affairs and in the government in southern
Italy, the use of music by the Pythagoreans (means of purification of healing, use of
theoretical study), the Pythagorean ethic (Pythagorean friendship and loyalty, temperance,
self-control, inner balance); justice; and the attack on the Pythagoreans. Also in this
biography, Iamblichus, almost seven hundred years after the termination of the Pythagorean
School, established a catalog list with the names of two hundred and eighteen men and sixteen
women, supposedly Pythagoreans of different nationalities. Based on this biography, a
question was raised: to what extent and in what ways, can the Pythagoreans quoted by
Iamblichus really be classified as Pythagoreans? We will take as guiding elements to search
for answers to our central problem the following general objectives: to identify, whenever
possible, which of the men and women listed in the Iamblichus catalog may be deemed
Pythagorean and specific; (a) to describe the mystery religions; (b) to reflect on the
similarities between the cult of mysteries and the Pythagorean School; (c) to develop criteria
to define what is being a Pythagorean; (d) to define a Pythagorean; (e) to identify, if possible,
through names, places of birth, life, thoughts, work, lifestyle, generation, etc.., each of the
men and women listed by Iamblichus; (f) to highlight who, in the catalog, could really be
considered Pythagorean, or adjusting to one or more criteria established in c, or also to the
provisions of item d. To realize these goals, we conducted a literature review based on ancient
sources that discuss the Pythagoreanism, especially Iamblichus (1986), Plato (2000), Aristotle
(2009), as well as modern scholars of the Pythagorean movement, Cameron (1938), Burnet
(1955), Burkert (1972), Barnes (1997), Gorman (n.d.), Guthrie (1988), Khan (1999), Matt?i
(2000), Kirk, Raven and Shofield (2005), Fossa and Gorman (n.d.) (2010). The results of our
survey show that, despite little or no availability of information on the names of alleged
Pythagoreans listed by Iamblichus, if we apply the criteria and the definition set by us of what
comes to be a Pythagorean to some names for which we have evidence, it is possible to
assume that Iamblichus produced a list which included some Pythagoreans / Pit?goras ? considerado um dos mais importantes pensadores pr?-socr?ticos. A escola
pitag?rica, por ele fundada, influenciou todo um pensar posterior na religi?o e na ci?ncia.
J?mblico, fil?sofo neoplat?nico e neopitag?rico do s?culo III d.C., elaborou, quase setecentos
anos ap?s o t?rmino do movimento pitag?rico, uma das tr?s biografias de Pit?goras, a Vida de
Pit?goras. Nela, ele retrata a vida desse fil?sofo e nos fornece informa??es sobre o
pitagorismo: uma comunidade religiosa assemelhada ao culto de mist?rios; o envolvimento de
seus participantes em assuntos pol?ticos e no governo no sul da It?lia; a exalta??o dada ?
m?sica (meio de purifica??o, de cura, recurso de estudo te?rico), ? ?tica (amizade, lealdade,
temperan?a, autocontrole, equil?brio interior), ? justi?a, e o ataque sofrido pelos pitag?ricos.
Ao final dessa biografia, J?mblico elabora um cat?logo com os nomes de duzentos e dezoito
homens e dezesseis mulheres, suposto(a)s pitag?rico(a)s de diversas nacionalidades. Tomando
como base essa biografia, lan?a-se a quest?o: at? que ponto, e em quais aspectos, esses
homens e mulheres citado(a)s por J?mblico podem realmente ser classificados como
pitag?rico(a)s? Tomaremos como elementos norteadores ? busca de respostas para nosso
problema central os seguintes objetivos (i) geral, identificar, quando poss?vel, quais dos
homens e mulheres listados no cat?logo de J?mblico podem ser considerados pitag?ricos, e
(ii) espec?ficos: (a) caracterizar as religi?es de mist?rios; (b) refletir sobre as semelhan?as
entre o culto de mist?rios e a escola pitag?rica; (c) desenvolver crit?rios que v?o definir o que
? ser um pitag?rico; (d) definir um pitag?rico; (e) identificar, se poss?vel, atrav?s dos nomes,
locais de nascimento, vidas, pensamentos, obras, estilo de vida, gera??o, etc., cada um dos
homens e mulheres listados por J?mblico; (f) destacar, no cat?logo, quem realmente poderia
ser considerado um(a) pitag?rico (a), ou se adequando a um ou v?rios crit?rios estabelecidos
em c, ou atendendo ao disposto no item d. Para dar conta de tais objetivos, realizamos uma
pesquisa bibliogr?fica valendo-se de fontes antigas que discutem o pitagorismo,
principalmente J?mblico (1986), Plat?o (2000/s.d.), Arist?teles (s.d.), e modernos estudiosos
desse movimento: Cameron (1938), Burnet (1955), Burkert (1972), Guthrie (1988/2003),
Barnes (1997), Khan (1999), Gorman (1979), Matt?i (2000), Kirk, Raven & Shofield (2005),
e Fossa (2006/2010). Os resultados de nossa pesquisa mostram que, se utilizarmos as raras
informa??es acerca de poucos desse(a)s suposto(a)s homens e mulheres catalogado(a)s por
J?mblico, e se aplicarmos sobre eles os crit?rios e a defini??o por n?s anteriormente
estabelecidos sobre o que vem a ser um pitag?rico, ? poss?vel supor que a lista elaborada por
J?mblico pode estar constitu?da por alguns homens e mulheres que possu?am um modo de
vida e um interesse por determinados assuntos caracteristicamente pitag?ricos
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Cheira bem pode fazer mal: a configuração de O perfume como romance policialPiva, Paula Cristina [UNESP] 27 October 2010 (has links) (PDF)
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piva_pc_me_arafcl.pdf: 1100531 bytes, checksum: 6e334cdac43570120198fac9eff22173 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Essa dissertação dispõe-se a estudar o romance O perfume do escritor alemão Patrick Süskind, publicado pela primeira vez em 1985. Tem-se o objetivo de demonstrar como essa obra, que antecipa no subtítulo ser a história de um assassino, se configura em romance policial. Para viabilizar o trabalho, busca-se subsídio na teoria da literatura policial e na história desse gênero, permitindo então estabelecer semelhanças e distinções. Antes, porém, discorre-se brevemente sobre os variados gêneros que compõem O perfume, que leva ao extremo a definição de romance, ou seja, uma composição híbrida por excelência. A obra em questão mescla, além das duas categorias principais do romance policial, a saber, enigma e negro, os gêneros predecessores a ele. O perfume rompe as convenções da ficção policial, com isso, aproximá-lo do gênero possibilita que outros romances sejam analisados pelo mesmo viés e possam eventualmente ser considerados também romances policiais, embora aparentemente estejam distantes do romance policial tradicional / This essay intends to study one of Patrick Süskind’s novels, Perfume, published for the first time in 1985. Our goal is to show how this work, which subtitle foresees the story of a killer, is configured in a crime novel. To make this concrete, we look for some data in the theories of the crime novel and in the history of this gender, which allow us to establish similarities and distinctions. Previously, however, we briefly expose the several literary genders that compose Perfume, carrying the definition of the novel too far; in other words, a hybrid composition par excellence. The work at issue blends, besides the two main categories of the crime novel (the mystery and the noir one) the predecessor genders to it. Perfume tears the conventions of crime fiction; then, approaching this novel to the gender makes it possible for other novels to be analyzed the same way, so that they can occasionally be considered crime novels as well, although apparently far from the traditional crime stories
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SMRT V TAJEMSTVÍ Z POHLEDU TEOLOGICKÉ ANTROPOLOGIE / Death as mystery in perpective of theological antropologyHUSÁKOVÁ, Petra January 2010 (has links)
This theses deals with death from the perspective of the mystery of the revelation of Jesus Christ, it describes and puts it into the context of theological anthropology. It analysis death from the point of view of the Old and New testament and defines the basic terms in relation to eschatology. It shows the consequences for the practice of care of dying persons, which in fullness develops the relationship between man and God. The theme of the thesis is being elaborated upon from the perspective of a believer in eternal life given to us through the death and resurrection of Jesus Christ.
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Da abstração à concretude da experiência: a filosofia concreta em Gabriel Marcel / From abstraction to the concreteness of experience: concrete philosophy of Gabriel MarcelAzevedo, José André de 24 April 2012 (has links)
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Previous issue date: 2012-04-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Starting from a context of criticism to the modern scientism and rationalism, Marcel s work is projected above all, as a radical interrogation about the ontological weight of experience. It is in this direction that the philosopher explores the theme of the Incarnation as the central fact of metaphysics. Presenting with an unsystematic thought, wandering and questioning, Gabriel Marcel says that philosophy has an arket: the existence as a starting point and reference to the labor philosophicus. From the question Who am I?, Marcel projects a decisive point of arrival: the existence horizon embodied in its radicalism. More than just a problem, this question assigns, first of all, a radical ontological requirement, in other words, the revival of the incarnation as the "mystery of being." Now this fundamental fact of metaphysics is a reality that presents itself not in front of me, but where I am immersed. Therefore, the philosopher will set out this state of matter in terms of a "concrete philosophy" as opposed to some speculative hegemonic essentialism in the philosophical tradition. / Partindo de um contexto de crítica ao cientificismo e racionalismo modernos, a obra de Marcel se projeta, antes de tudo, como uma interrogação radical acerca do peso ontológico da experiência. É sob essa direção que o filósofo explora o tema da encarnação como o dado central da metafísica. Apresentando-se com um pensamento assistemático, itinerante e questionador, Gabriel Marcel afirma que a filosofia possui uma arché: a existência enquanto ponto de partida e de referência do labor philosophicus. A partir da questão Quem eu sou?, Marcel projeta um ponto de chegada decisivo: o horizonte da existência em sua radicalidade encarnada. Mais que um mero problema, esse questionamento fixa, antes de tudo, uma exigência ontológica radical, ou seja, o avivamento da encarnação como mistério do ser . Ora, esse fato fundamental da metafísica é uma realidade que se apresenta não diante de mim, mas na qual estou mergulhado. Por isso, o filósofo enunciará esse estado de questão nos termos de uma filosofia concreta em oposição a certo essencialismo hegemonicamente especulativo na tradição filosófica.
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Édition critique du Mystère des trois doms (ms BnF n.a.f. 18995). Analyse linguistique, glossaire et notes. / Critical edition of the Mystère des trois doms (ms BnF n.a.f 18995). Linguistic analysis, glossary and notesSauwala, Laetitia 06 December 2016 (has links)
Cette thèse présente l’édition critique du Mystère des trois doms (1509), d’après un manuscrit unique aujourd’hui conservé à la Bibliothèque nationale de France sous la cote n.a.f 18995. Ce texte dramatique en moyen français d’environ 11000 vers raconte la conversion puis le martyre des trois saints patrons de la ville de Romans, Séverin, Exupère, et Félicien ; il a été composé en vue d’une représentation, qui eut lieu trois jours durant dans cette même ville les 27, 28 et 29 mai 1509. Notre travail comporte plusieurs aspects distincts et complémentaires : une analyse philologique et historique, une présentation littéraire et une étude linguistique. Après avoir présenté les objectifs de notre travail, nous analysons la préparation de la représentation de 1509, tant du point de vue de l’écriture du mystère (analyse du manuscrit et des différentes étapes de sa composition) que du point de vue de la réalisation matérielle de l’entreprise (construction du théâtre et des décors). Nous possédons en effet également le livre des comptes du mystère, qui contient de précieuses informations sur les modalités d’organisation de sa représentation : il s’agit d’un cas unique, ce texte est donc d’une grande importance pour l’histoire du théâtre en France. Nous proposons ensuite une présentation du texte du mystère, une analyse des sources, de la mise en scène, et quelques éléments de versification et de stylistique. La langue du mystère étant d’une grande richesse, notre étude linguistique s’intéresse à plusieurs aspects : les systèmes graphiques des différents scribes, la régionalité de la langue et la représentation de l’oralité. Nous présentons enfin les principes qui ont guidé l’édition critique des trois journées du mystère. Celle-ci est suivie d’un relevé des nombreuses variantes et corrections contenues dans le manuscrit, de notes portant sur le texte, d’un glossaire et d’une bibliographie ; le volume contient enfin en annexes plusieurs planches du manuscrit. / This thesis presents a critical edition of the Mystère des Trois Doms (1509), from a single manuscript now kept in the National Library of France under the reference n.a.f 18995. This drama play in Middle French contains approximately 11,000 verses, and tells the conversion and martyrdom of the three patron saints of the town of Romans, Séverin, Exupère and Félicien; it was composed for a performance, which took place in the city during three days, on 27, 28 and 29 May 1509. Our work includes several distinct and complementary aspects: philological and historical analysis, literary presentation and linguistic study. After presenting the objectives of our work, we analyze the preparation of the 1509 performance, from a writing point of view (analysis of the manuscript and the various stages of its composition) as well as from the material realization of the representation (construction of the theater and scenery). Indeed, we also have the book of accounts of the mystery play, which contains valuable informations on organizational modalities of its representation: it is a unique case, making this text of great importance for the history of the theater in France. We then propose a presentation of the text of the mystery, an analysis of sources, staging, and some elements of versification and stylistics. The language of the mystery being very rich, our linguistic study focuses on several aspects: graphics systems of the different scribes, regionality of the language and representation of orality. Finally, we present the principles that guided our critical edition of the three days of the play, followed by an account of the various variants and corrections contained in the manuscript, some notes on the text, a glossary and a bibliography. The appendices of the volume also contain several boards of the manuscript.
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Représentations de l'homme immobile : inaction et réclusion dans la littérature occidentale des XVIIIe et XIXe siècles / Representations of the Immobile Man : inaction and Reclusion Throughout the Eighteenth and Nineteenth Centuries Western LiteratureChateau, Jérémy 04 July 2016 (has links)
Entre le XVIIIe et le XIXe siècle, la littérature européenne redéfinit fondamentalement son rapport au récit de voyage : les notions d’apprentissage et de formation, telles qu’elles apparaissent au temps des Lumières et du Bildungsroman, s’érodent et laissent peu à peu la place à des variations excentriques ou parodiques. En 1795, le Voyage autour de ma chambre de Xavier de Maistre exalte ainsi les vertus didactiques d’une réclusion contemplative. La mode du récit de voyage voit ainsi lui succéder, d’une part, des excursions sans profit pédagogique, et, d’autre part, des retraites riches en enseignement, malgré l’abolition de toute trajectoire physique. À la suite de Xavier de Maistre, plusieurs dizaines d’imitateurs composent à leur tour un répertoire peu exploré de la littérature française : le voyage de chambre. Après les révolutions qui frappent l’Europe et l’Amérique à la fin du XVIIIe siècle, un nouveau modèle de personnage, l’homme immobile, émerge ainsi dans la littérature. Caractérisé par sa présence problématique dans une société en pleine mutation, il occupe l’espace narratif en spectre, refusant de s’engager dans l’action tandis qu’il explore les nouvelles possibilités de vie dans un espace privé. Des textes essentiels de la littérature du XIXe siècle abordent ainsi, sur un mode euphorique ou dysphorique, ces nouvelles modalités narratives : la fiction américaine de la Nouvelle-Angleterre relate la pénible transition d’un âge spirituel vers un âge politique, caractérisée par un climat léthargique qu’observent avec stupeur, tour à tour, Charles Brockden Brown, Washington Irving, Edgar Allan Poe, Nathaniel Hawthorne ou Hermann Melville. Dans les marges de cette littérature inquiète, le mouvement transcendantaliste propose un retour heureux à la solitude. En France, À rebours de Joris-Karl Huysmans, à travers l’opiniâtreté dont témoigne l’auteur dans sa quête éperdue de l’unité, demeure sans doute l’œuvre quintessentielle parmi l’ensemble des récits de réclusion. / Between the eighteenth and nineteenth centuries, European literature fundamentally redefines its relation to travel writing: notions of apprenticeship and formation, as they appear during the age of Enlightenment and the Bildungsroman era, become eroded and are gradually replaced by eccentric or parodist accounts of the travel experience. In 1795, Xavier de Maistre’s Journey Around My Room enhances the educational virtues of a contemplative seclusion. From then, the tradition of travel writing is supplanted by stories of excursions that provide very little educational value, on the one hand; and stories of valuable teachings inherited by captivity, despite a lack of physical mobility, on the other hand. Inspired by Xavier de Maistre’s book, dozens of imitators follow his path throughout the XIXth century and write their own accounts of room travel, a little studied phenomenon in French literature. After the revolutions that hit Europe and America in the late eighteenth century, a new model of character, the immobile man, appears in literature. Characterized by his problematic presence in a fast-changing society, which is undergoing some very profound changes, he occupies the narrative space like a ghost, refusing to engage in social action, as he would much rather investigate the new opportunities of living in his own private space. Essential 19th-century texts—be they euphoric of dysphoric—hint at these new narrative modalities: American fiction from New England, for example, tells the painful transition from a spiritual age to a political age, characterized by a lethargic climate alternately depicted by Charles Brockden Brown, Washington Irving, Edgar Allan Poe, Nathaniel Hawthorne or Hermann Melville. On the margins of this troubled literature, the transcendentalist movement advocates a more favorable return to solitude. In France, Joris-Karl Huysmans’s A rebours, through its author’s determination in the search for unity, certainly marks an important milestone among all the narratives of reclusion.
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