Thesis (doctoral)--ELTE Universität, Budapest, 2001.

Based on the author's Thesis (Ph. D.--University of Keele), 1993. / Spine title: Seduction and repetition in Ovid's Ars amatoria II. Includes bibliographical references (p. [297]-310) and indexes.

Made available in DSpace on 2014-12-17T14:19:42Z (GMT). No. of bitstreams: 1 LindinesGB.pdf: 916578 bytes, checksum: 5fc85be6fabb31d50e69bab72b301e47 (MD5) Previous issue date: 2007-05-25 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This dissertation establishes a viewpoint in the Social Cience Field of the Nymphs image in the romanesque construction of the twentieth century based in modern archaeology. Our literary corpus is constitututed by the book of the russian author callled Wladimir Nabokov entlited Lolita and the book Presen?a de Anita, from a brazilian author called Mario Donato. Both works had a singular repercussion involving an erotic conception wich was faced as pornographic and baffling. We appeal to Georges Bataille‟s and Foucault‟s discussion in order to observe it through an erotic viewpoint from an inner experience not submitted to normalizations. Such experiences provoke a feeling of something unknown and it reflects wild singularities proposed by Foucault and related with many misunderstanding things presented in institutions and cultures. Furthemore Bataille‟s conception about erotism will give us conditions to analyze nymphs‟ bodies in order to see themselves from their main characteristics, such as seduction and tempting and maligning forces. We still aim to focus the paradigm of mankind and nature in the direction presented by Edgar Morin. He analyzes some feelings that nymphs provoke and their relation between men and death. In adittion, we present in this issue some questions between culture and biology, focusing on the initial period of larva (wich means the beggining), bringing up what is ready to be born, a mythical and significant body shown in the media. Lolita in the cinema and A Presen?a de Anita in the TV was disturbing in society and it projected the possibility of a syntaxes of desire. It can has a symbolic purpose or it can be a kind of social and cultural phenomenon, wich is an object of representation. Our purpose is to immersion/emerge in the Nimphs‟s body with adventure and its risks at the same time in wich we are crossing frontiers / Esta disserta??o estabelece uma leitura, no campo das ci?ncias sociais, com base numa arqueologia moderna, da figura da ninfeta, na constru??o romanesca do s?culo XX. O livro do autor russo Wladimir Nabokov, intitulado Lolita, constitui nosso corpus liter?rio, juntamente com o autor nacional, M?rio Donato, Presen?a de Anita. Tais obras tiveram uma repercuss?o ?mpar, envolvendo uma concep??o er?tica tomada como pornogr?fica e desconcertante. Recorremos ? discuss?o de Georges Bataille e Foucault, a fim de observar atrav?s de um olhar constituinte de uma eroticidade, reconhecida enquanto experi?ncia interior, n?o submetida ? normatiza??o, ? normaliza??o, ao disciplinamento. Tal natureza de experi?ncia, provoca uma esp?cie de n?o-saber, refletindo a configura??o das singularidades selvagens, propostas em Foucault, relacionadas com aquilo ainda inassimil?vel pelas institui??es e pelas culturas. A concep??o de Bataille sobre o erotismo nos dar? condi??o de margear os corpos ninf?ticos para ver neles emergir a vertigem, a sua forma de abismo, o seu ser visto como mal?fico, a sua for?a tentadora e de sedu??o. Visamos, ainda, ao enfoque do paradigma do homem e a natureza perdida, na dire??o abordada por Edgar Morin, na procura do estranhamento que as ninfetas provocam, imbu?das da problematicidade entre o homem, a morte e seu duplo. Trazendo interroga??es entre a cultura e a biologia, remetendo ao est?gio elementar de larva, evocando o que h? de latente e pronto a se manifestar. Um corpo carregado de mitos e significa??o, tornando-se um corpo como m?dia. Lolita no cinema, e Presen?a de Anita na tv, perturbadoras dos sistemas, desorganizadoras de uma sintaxe social fechada, projetando a possibilidade de uma sintaxe do desejo. Motivo simb?lico, fen?meno social e cultural, objeto de representa??es. Propomos esta imers?o/emers?o no corpo ninf?tico, com o tudo de aventura discursiva e riscos que possam envolver-nos, ao atravessar fronteiras

[pt] A intenção deste trabalho é lançar um olhar sobre algumas representações da mulher na publicidade - mais especificamente na de perfumes e cosméticos -, mapeando, a partir da fala de informantes-consumidoras, as suas relações com o imaginário social acerca do feminino. No conjunto de peças publicitárias analisadas, temos imagens de mulheres misturadas a flores, águas, pedras e cristais, dominando ou tornando-se animais, ou ainda em situações de extrema sedução (como femmes fatales). Diante dessas representações publicitárias, buscamos encontrar alguns dos significados que cercam o universo da produção de imagens da mulher na publicidade e na cultura contemporânea. A sedução e as relações com o sexo oposto, com o poder e com o consumo aparecem como questões-chave para a compreensão de algumas elaborações do feminino na comunicação de massa. / [en] The aim of this work is to look at some of the woman´s portrayals in magazine`s advertisement - more specifically on ads of cosmetics and perfumes - and to examine, from the discourse of young college students (female), some links between the representation of woman on mass media and its social meaning. The ads under scrutiny show the image of woman mixed with flowers, water, stones and crystals, dominating wild animals or even appearing in very seductive scenes (as femmes fatales). Considering such sort of portrayals, this study tries to interpret some of the meanings that make up the universe of representations of women in advertising as well as in the contemporary culture. The ideas of sexual seduction, power and consumption appear over the interviewees´ speeches as important issues concerning woman`s representation on media and gender roles.

This dissertation examines the intersection of the prosecution of criminal justice, sexual morality and the family at the parlement of Paris, which was the highest court of appeal in France, during the height of its power and influence in the kingdom from 1564-1655. This dissertation argues that in its adjudication of the crimes of seduction, infanticide, adultery, and bigamy the parlement of Paris interpreted the law according to a paternal theory of state by prioritizing family integrity and patriarchal honour in its decisions. In so doing, it presents a unique synthesis of statute and published legal opinion with a systematic survey of judicial decisions, based on archival findings, relating to these sex crimes in early modern France. It concludes that these judicial decisions were ensconced in the concepts of family, the king’s justice, and sovereignty, which were foundational to the interconnected theories of state and society in early modern France. The parlement tended to separate elite and modest appellants according to the socio-economic priorities of lignage and ménage, or the protection of the integrity of elite lineages and the stability of artisanal households within broader networks of family and community. Ultimately, this study exposes the expectations and values that gendered authority placed on men and women in early modern French society, reveals the ways that the most powerful judges in France interpreted the law according to these values, and unveils the narratives that women and men crafted when they confronted these expectations before these powerful judges. In so doing, this dissertation sheds new light on the relationships between gender and the law, gender relations in state and society, and the lived experience of marriage in early modern France. / Graduate / 2022-08-09

Jacques Demy's Les Parapluies de Cherbourg (1964), Les Demoiselles de Rochefort (1967), and Peau d'âne (1970), though quite popular with the public at their time of release and continuing to leave an aesthetic stamp on contemporary cinema, have been received by some critics and viewers in general as pure contrivance with little edification. This thesis puts forward, however, that such interpretations of these Demy musicals as primarily saccharine, superficial, and light miss the elemental melancholy belied by the charming varnish. Here, the three are unified as a triptych that thematizes and aestheticizes lack and desire in ways that can speak directly to the queer viewer. This thesis first situates the films among criticism from the 1960s to the present, opening a discourse on the potential for diverse political and aesthetic readings of Demy's work that continues to the present queer reading. Through a method of narratological close reading, I unify the three films as a triptych, each a variation on themes of isolation, absence, and amorous lack. Jean-Pierre Berthomé's Jacques Demy et les raciness du rêve (1982) is a rich resource in presenting these three seemingly distinct films as a totality. Once justified for study as a triptych, my thesis presents a queer reading of the films' ostensibly heterosexual narrative structures. With the buttressing of the queer theory of Harold Beaver, Andrew Ross, and Michael Koresky, among others, this chapter demonstrates how the narratives of longing Demy crafts can speak to the queer viewer and transcend a heterosexual framework. Finally, my thesis moves beyond narrative to another continuity, the aesthetic of camp present throughout the triptych. Through an exploration of the interconnectivity of camp, gender performance, and seduction, drawing on scholars Susan Sontag, Judith Butler, and Jean Baudrillard, respectively, the aesthetic of Demy's triptych is situated in a queer sensibility. Catherine Deneuve, Demy's "princesse idéale," is read as the reification of this sensibility in her potent performance of gender at the confluence of masculine and feminine qualities, as well as the ideal tabula rasa onto which the queer viewer's desire and longing can be projected. Ultimately, the triptych's reconciliation of the visually confectionary and the narratively somber is celebrated, as it points to a victory over tragedy through affective agency. / Master of Arts / Jacques Demy's Les Parapluies de Cherbourg (1964), Les Demoiselles de Rochefort (1967), and Peau d'âne (1970), French musicals from a masterful director of the New Wave movement in cinema, have been generally received positively by the public, and especially by gay viewers. Yet, these Demy films have been met with a range of skepticism to derision by some critics and even by a number of Demy's contemporaries. The three films' narratives concern a nascent romance thwarted by the Algerian War and economic demands, potential amorous encounters prevented by missed connections and arbitrary social barriers, and a flight from incestuous demands and its consequences of isolation and ridicule, respectively. Though these narratives are fundamentally melancholic, they are aestheticized through kaleidoscopic colors, virtuosic dancing, and the beautiful music scores of Michel Legrand. This thesis reexamines these films as a triptych that, considered together, thematizes lack and desire in a way that can speak directly to the queer viewer. Areas of overlap between the filmic narratives and the queer experience in the West are excavated and explored to demonstrate how the films can carry intimate signification to sexual minorities, as well as other marginalized identities. Finally, the particular and continuous aesthetic of the three films is studied as a queer sensibility embodied by the star of all three, Catherine Deneuve. The ability of this triptych to transcend a singular heterosexual interpretation and to heighten its effects on the viewer through a tension of form and content is celebrated.

[pt] Onde andará Hilda Hilst? Leitura crítica de Cantares do sem nome e de partida, discute a relação do adeus encenado nos poemas do seu último livro de poemas inéditos publicados com o efetivo gesto de anunciar a interrupção de mais de quarenta anos de publicações contínuas. Fundados e erguidos sob o signo da despedida, estes poemas demarcam a matriz da poesia ocidental, seu contexto histórico, como território para alianças e transgressões éticas e estéticas. Subvertendo a ausência que funda e mobiliza a criação de textos nas tradições em questão, a Lírica Trovadoresca e a Fábula Mística, Hilda Hilst constrói esta ausência. A partir da ausência construída pelos poemas de Cantares do sem nome e de partida, pelo anúncio do fim de novas publicações, um deslocamento de lugar enunciativo da autora deflagra na cena cultural um espaço paradoxal: fechado e aberto (fechado na medida em que define a obra como acabada, aberto na medida em que a autora pode se referir a sua atividade de escritora e à sua obra com a distância crítica do passado). Este novo espaço criado, propício à emergência de vozes políticas, ao mesmo tempo em que viabiliza a circulação deste texto e também dos outros textos de Hilda Hilst (até então pouco conhecidos pelo público leitor não especializado por conta do tipo de distribuição mercadológica que tiveram), também coloca em questão os critérios de seleção e distribuição do mercado editorial. / [en] Where is Hilda Hilst? Critical reading of Cantares do sem nome e de partida, discusses the relation of farewell staged in poems of her last book of inedited poems published with the effective gesture to announce the interruption of more than forty years of continuous publications. Founded and built under the sign of parting, these poems delineate the matrix of occidental poetry, its historical context, as a territory for alliances and for ethical and aesthetic transgressions. Subverting the absence that establishes and mobilizes the creation of texts in the traditions in question, the Troubadours lyric and the Mystics fable, Hilda Hilst constructs this absence. From the absence built by the poems of the Cantares do sem nome e de partida, and starting at the announcement of the end of new publications, a shift of the author s place of enunciation in the cultural scene triggers a paradoxical space: closed and opened (closed in the measure where she defines her work as finished, opened in the extent where the author can mention its activity of writer and its literary pursuits with in the critical distance of the past). This new space created, propitious to emergency of politics voices, at the same time it allows the circulation of this text and also from other texts by Hilda Hilst (until then barely unknown by non-specialist readers on account of the type of marketing distribution that they had), also it places in question the criteria of election and distribution of the publishing market.

Les romans libertins à figures se développent de façon remarquable au XVIIIe siècle. Selon les frères Goncourt, c’est « le siècle de la vignette ». L’avènement de cette mode de livres illustrés a modifié aussi bien les sensibilités esthétiques et les conditions matérielles de la lecture d’un récit de rouerie, que notre conception de la littérature libertine comme système de représentation, non plus exclusivement textuel, ou discursif, mais engageant un dialogue avec l’image. Il s’agit d’étudier ce dédoublement de la représentation, à travers les dispositifs qu’il met en œuvre, et en mobilisant ceux-ci comme une nouvelle méthode d’analyse du texte et de l’image dans les récits de rouerie libertine.On pourrait croire que les récits de rouerie libertine sont les plus éloignés de l’image, étant donné que la machination et la ruse nécessitent d’agir sous-main. Or notre analyse de la logique de l’image qui gouverne les dispositifs de la représentation dans le roman libertin des Lumières infirme cette hypothèse. Dans cette perspective, nous tenterons de compléter les études existantes sur la scène érotique ou intime, le regard et la théâtralité de la fiction classique, avec l’idée que, dans les récits de rouerie, la représentation de la machination libertine oscille entre deux stratégies : celle qui donne à voir et celle qui dérobe. / The libertine novels ornated with figures grew dramatically in the eighteenth century. According to Goncourt brothers it is “the century of the vignette”. The development of this genre of illustrated books changed, both aesthetic sensibility of the reader and the material conditions of reading a trick story, for our conception of libertine literature as a system of representation is no more exclusively textual nor discursive but triggers a dialogue with the image. The study of this duplication of representation is at stake, using the text-and-image devices it operates, as a new method to analyse their interconnection in the libertine trick stories. One could imagine such narratives are the most distant from the image, since the machination and trickery need to act covertly, whereas the logic of the image appears to be at the very heart of the operative devices of representation which govern the eighteenth century libertine novel. Following that scientific approach, we’ll try to complete the existing studies on poetics of the erotic or intimate scene, and how gazing and theatricality interact within classical fiction, with the hypothesis that, in the trick stories, the representation of the libertine plot faces two strategies: the one that lures with showing something and the other with concealing.

Made available in DSpace on 2016-03-22T17:26:41Z (GMT). No. of bitstreams: 1 Daniela Agendes.pdf: 8092886 bytes, checksum: cebf2a61500901646bc7834fdada2754 (MD5) Previous issue date: 2012-03-23 / The objective of this paper is to analyse the articulation of the journalistic discourse and the discourse of popular science (ZAMBONI, 2001) in the (re)production of behaviors considered appropriate or not for women and men in the ―game of seduction‖, by taking into consideration ideological and gender aspects. The corpus consists of three reports where the discourse of popular science is used: two of them, ―A tal da química‖, in the female s magazine Gloss (March, 2011), and ―A ciência da atração‖, in the male s magazine Men's Health (March, 2011), aim to publicize scientific research results, and ―Caçadoras‖, in Gloss (Oct., 2010), in which no experiments are found. The theoretical and methodological grounds are taken from the Critical Discourse Analysis, according to Fairclough s three-dimensional conception (2001), based on categories such as vocabulary, interdiscursivity and manifest intertextuality; the Visual Grammar, by Kress and Van Leeuwen (2006), and the gender studies, from the viewpoint of Nicholson (2000) and Lauretis (1994), among others. The literature review includes the parameters of the journalistic discourse and the discourse of popular science, magazines, female and male presses, and the story of love and seduction. The results indicate that in all the reports the scientific information, with less or more emphasis, grounds the journalistic discourse. In the first two reports, the discourse of popular science outstands journalistic information is confirmed mainly by the conclusions that outcome from research projects based on laboratory tests, which seems to mark it with a stronger power of persuasion; in the third report no lab experiences are mentioned and the journalist s and ―ordinary‖ women s discourses prevail. The study of gender demonstrates that both Gloss and Men's Health reports indicate only an apparent change in paradigm, because their discourses assure the patriarchal ideology and hegemonic gender settings / A presente dissertação tem como objetivo analisar a articulação do discurso jornalístico e do discurso de divulgação científica (ZAMBONI, 2001) na (re)produção de comportamentos considerados adequados ou não para mulheres e homens no jogo da sedução, com atenção para questões ideológicas e de gênero. O corpus é constituído por três reportagens que utilizam o discurso de divulgação científica: duas delas, ―A tal da química‖, da revista feminina Gloss (março, 2011) e ―A ciência da atração‖, da revista masculina Men s Health (março, 2011), têm por objetivo divulgar resultados de pesquisas científicas, enquanto ―Caçadoras‖, de Gloss (outubro, 2010), não traz experimentos. Os pressupostos teórico-metodológicos são retirados da Análise Crítica do Discurso, a partir da concepção tridimensional de Fairclough (2001), com base nas categorias do vocabulário, da interdiscursividade e da intertextualidade manifesta; da Gramática Visual, de Kress e van Leeuwen (2006), e dos estudos de gênero, na perspectiva de Nicholson (2000) e Lauretis (1994), entre outras críticas. A revisão bibliográfica inclui os parâmetros dos discursos jornalístico e de divulgação científica, as revistas, as imprensas feminina e masculina e a história do amor e da sedução. Os resultados indicam que o discurso de divulgação científica serve de base ao discurso jornalístico, com maior ou menor ênfase, nas três reportagens. Nas duas primeiras, predomina o discurso de divulgação científica as informações jornalísticas são comprovadas, principalmente, por meio de resultados de projetos de pesquisa, com amparo em testes realizados em laboratórios, o que parece imprimir um forte poder de persuasão; na terceira, não há relato de experimentos, e preponderam os discursos da jornalista e das mulheres ―comuns‖. Quanto às questões de gênero, tanto as reportagens de Gloss quanto as de Men s Health indicam apenas uma aparente quebra de paradigmas, pois seus discursos reforçam a ideologia do patriarcado e as configurações hegemônicas de gênero

Nesta tese, analisou-se o discurso quilombola tendo como objeto teórico a construção do efeito de sentido de afirmação da identidade na relação com a estratégia de manipulação por sedução o objeto empírico sendo as bonecas pretas do Quilombo de Conceição das Crioulas, situado em Salgueiro PE, na tentativa de: discutir o que é uma identidade semiótica, como se produz esse efeito textual-discursivamente e o que significa a afirmação da identidade pelos sujeitos; analisar como se constrói o efeito de sentido de identidade no corpus; cotejar a afirmação da identidade com a semiótica da manipulação; refletir sobre o conceito de manipulação e seus desdobramentos na Semiótica greimasiana e explicitar, no corpus, a gestão do sentido tanto pela intencionalidade com que, implicitamente, o enunciador engendra uma imagem-fim positiva do enunciatário, quanto pelo excedente passional que sobrevém ao discurso. Os resultados da discussão teórica e sua incidência na análise do corpus demonstram que a identidade semiótica é um simulacro e para o efeito de sua afirmação são necessários elementos sintáxicos que produzam a repetição que, no discurso das bonecas, realiza-se com o recurso à isotopia, à aspectualização, à tensividade. Tais elementos, associados à estrutura manipulativa, arquitetam a estratégia da sedução com vistas à adesão ao discurso comunicado, o qual, pela tensão entre querer e dever, põe em movimento a ética e a estética. Notadamente, repetir para lembrar e seduzir para influenciar têm todo relevo na semiótica das bonecas. / In this thesis, we have analyzed the quilombola discourse. Our theoretical object was the construction of the meaning effect of identity affirmation in the relation with the strategy of manipulation by seduction the empiric object were the black dolls from Quilombo de Conceição das Crioulas, which is located in Salgueiro-PE. We have aimed at: discussing what is semiotic identity, how this effect is textually and discursively produced and what the subjects identity affirmation means; analyzing how the meaning effect of identity is constructed in our corpus; collating the identity affirmation with the semiotics of manipulation; reflecting about the concept of manipulation and its deployment in greimasian semiotics and showing, in the corpus, the management of the meaning by the intentionality with which, implicitly, the enunciator engenders a positive end-image of the enunciatee, and by the passionate surplus which overtakes the discourse. The results of the theoretical discussion and its incidence in the analysis of the corpus show that the semiotic identity is a simulacrum and that syntaxic elements which produce repetition are needed for the effect of its affirmation. In the discourse of the dolls, this is realized by isotopy, aspectualization, tensivity. These elements, associated with the structure of manipulation, build the strategy of seduction aiming the adhesion to the discourse, which, by the tension between wanting and having to do, put the ethic and the esthetic in movement. Notably, repeating to remember and seducing to influence have a lot of importance in the semiotics of the dolls.