Thesis (Ph. D.)--University of Washington, 1992. / Vita. Includes bibliographical references (leaves [191]-195).

Thesis (Ph.D.)--University of Wollongong, 2008. / Typescript. Includes bibliographical references: leaf 251-270.

Thesis--Bonn. / In Periodical Room.

Thesis (Ph. D.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 100-109).

Thesis (Ph.D.)--Northwestern University, 2000. / Source: Dissertation Abstracts International, Volume: 61-11, Section: A, page: 4207. Adviser: Ikem S. Okoye.

Thesis (M.A.)--University of Montana, 2007. / Title from title screen. Description based on contents viewed Oct. 17, 2007. Includes bibliographical references (p. 81-84).

Thesis (M.A. (Philosophy))--University of Pretoria, 2000. / Summary in English and Afrikaans. Includes bibliographical references.

Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-24T14:04:18Z No. of bitstreams: 1 Dissert. Francisco Formigli.pdf: 769888 bytes, checksum: aa13f2abc5554e4ab7ef62411f85bef0 (MD5) / Made available in DSpace on 2013-05-24T14:04:18Z (GMT). No. of bitstreams: 1 Dissert. Francisco Formigli.pdf: 769888 bytes, checksum: aa13f2abc5554e4ab7ef62411f85bef0 (MD5) Previous issue date: 2002 / Os processos de comunicação, ou seja, de produção, circulação e consumo de informação, já podem ser observados nos fenômenos de interação dos organismos mais básicos da natureza. Estes processos seriam os mesmos que organizam a sociabilidade na cultura humana. No caso do movimento cultural surgido no Candeal, podemos observar cruzamentos e interações completamente análogos, indicando a presença dos mesmos processos, agora no nível bem mais complexo que aqueles identificados na natureza sem a cultura. O cruzamento de informações seriam registrados e processados em um plano sígnico, para atém do plano bioquímico (genético) da informação. Haveria, então, nos ensaios que notadamente na publicidade do Candy All Guetho Square uma busca de inocular signo de miscigenação em outros sistema sociais de significação, de modo a reproduzir e ampliar um determinado design subjetivo, isto é, um modo de ser no mundo e suas implicações nos processos de produção, circulação e consumo de informação. / Salvador

Many studies of American poetry view modernism as an eruption of formal and technical innovations that respond to momentous cultural and political changes, but few attempt to consider the flow and restriction of desire among these changes. This dissertation argues that American modernist poets construct models of desire based on the rejection of sensual objects and a subsequent redirection of desire toward the self and the creative mind. In addition, these models of desire result in a conception of subjects as whole, discrete, and isolated. In the first chapter, I distinguish between Walt Whitman's sensualist model of desire and Emily Dickinson's intellectualist mode that defers satisfaction. I contend that Ezra Pound, Wallace Stevens, T. S. Eliot, and H.D. (Hilda Doolittle) develop from Dickinson's perspective of deferred satisfaction to an outright rejection of physical desire. The manner and implications of this reorganization of desire differ among these poets, as do the poetic techniques they utilize, but underlying these differences is a related refusal to pursue objects of sensual pleasure. Pound withdraws desire from the world by turning objects into static images; desire is then able to flourish in the creative mind. Stevens allows the imagination to remake the world, creating manifold abstractions for subjects who otherwise reject sensuality. The second chapter provides a close reading of Eliot's The Waste Land to show how the presentation of sexual futility leads to a poetic experience of separation as a means of spiritual reformation. The third chapter reads H.D.'s Trilogy as a contemplation of the destruction of World War II and the persistent, unified self that outlasts it. Rather than interacting with this devastated world, H.D. insists that desire must be redirected toward the effort of spiritual redemption. In the fourth chapter, Elizabeth Bishop begins to question the deliberate rejection of the world. She sees a world that reasserts itself and imagines a subject who, though still yearning for unity, must admit an inescapably physical environment. The conclusion considers how postwar American poets continue to dissolve the subject and release desire into the world, emphasizing the present moment rather than a lasting, unified self.

Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-20T14:05:52Z No. of bitstreams: 1 dissertacao-hatsuko-kassa.pdf: 647092 bytes, checksum: 93a72264a02bd9825be67ba7257898b5 (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-20T14:06:51Z (GMT) No. of bitstreams: 1 dissertacao-hatsuko-kassa.pdf: 647092 bytes, checksum: 93a72264a02bd9825be67ba7257898b5 (MD5) / Made available in DSpace on 2016-06-20T14:06:51Z (GMT). No. of bitstreams: 1 dissertacao-hatsuko-kassa.pdf: 647092 bytes, checksum: 93a72264a02bd9825be67ba7257898b5 (MD5) Previous issue date: 2015-06-11 / Esta dissertação tem o objetivo de examinar em Fenomenologia da Percepção a proposta de Merleau-Ponty1 de uma “reflexão radical” em busca do desvelamento da dimensão constitutiva da percepção considerando o sujeito encarnado. Adicionalmente, pretende-se investigar qual é a concepção de subjetividade no âmbito dessa filosofia que revela uma irredutível abertura do sujeito ao mundo. / This dissertation aims to examine in the Phenomenology of Perception the MerleauPonty‟s proposition of a “radical reflection” in order to unveil the constitutive dimension of perception considering the body's incarnation. It aims also to investigate which is the conception of subjectivity within this philosophy that reveals an irreducible opening of the subject to the world.