anos 1882 e 1891. Por meio de catálogos e pesquisa de campo junto a acervos e coleções, procuramos fazer o levantamento de obras do pintor nesse período. A análise das paisagens foi realizada buscando apreender a percepção do artista em relação aos espaços representados. Em diálogo com a fenomenologia, foram utilizados como articulação teórica a noção de conversibilidade de Merleau-Ponty, o conceito de metaxu como explicado por Emanuele Coccia, e, ainda, a relação entre paisagem in visu e paisagem in situ proposta por Anne Cauquelin. A produção de Caron é contextualizada em sua época, sendo considerados os possíveis diálogos com artistas que lhe eram contemporâneos. Desse modo, ao refletir sobre sua pintura de paisagem, refletimos sobre esse gênero também no âmbito da arte brasileira do século XIX. / between the years 1882 and 1891. Through catalogs and field research with collections, we sought to survey the painter's works during that period. The analysis of the landscapes was carried out seeking to apprehend the perception of the artist in relation to the spaces represented. In dialogue with phenomenology, the notion of convertibility of Merleau-Ponty, the concept of metaxu as explained by Emanuele Coccia, and the relation between in visu and in situ landscape proposed by Anne Cauquelin were used as theoretical articulation. The production of Caron is contextualized in his time, being considered the possible dialogues with artists that were him contemporaries. Thus, in considering on his landscape painting, we think over this genre also in the context of nineteenth-century Brazilian art.

Ce travail porte sur le spectacle “Les Aveugles”, de Maurice Maeterlinck, mis-en-scène par Denis Marleau, il se propose d’étudier l’effet de présence de l’acteur. Cet effet est produit par des masques vidéographiques. Sur scène les images de deux acteurs sont projetées sur douze masques en taille réelle et en trois dimensions, ce qui donne la sensation de présence aux corps physiquement absents des acteurs. Par ailleurs, la voix et les bruits étant mis en valeur, l’univers sonore contribue à l’effet de réalité. En outre, il s’agit de la concrétisation du rêve de l’auteur d’un théatre d’androïdes à travers les “fantasmagories technologiques” du metteur en scène. Ce mémoire met en évidence les potentialités des nouveaux moyens technologiques au service des arts scéniques. / A pesquisa analisa o espetáculo “Os Cegos”, de Maurice Maeterlinck, encenado por Denis Marleau, a fim de discutir o efeito de presença do ator gerado através das máscaras videográficas. Na peça, as imagens de dois atores projetadas em doze máscaras, de tamanho real e em três dimensões, dão a sensação de presença de seus corpos ausentes, uma vez que os atores não estão presentes fisicamente na cena. Além disso, como o ambiente sonoro potencializa a voz e os ruídos, a sonoridade do espetáculo contribui com este efeito de realidade. Outra questão é a concretização do sonho do autor por um teatro de androides através das “Fantasmagories Technologiques” do encenador. O trabalho evidencia as novas possibilidades surgidas nas artes cênicas em função dos novos recursos tecnológicos.

Ce travail porte sur le spectacle “Les Aveugles”, de Maurice Maeterlinck, mis-en-scène par Denis Marleau, il se propose d’étudier l’effet de présence de l’acteur. Cet effet est produit par des masques vidéographiques. Sur scène les images de deux acteurs sont projetées sur douze masques en taille réelle et en trois dimensions, ce qui donne la sensation de présence aux corps physiquement absents des acteurs. Par ailleurs, la voix et les bruits étant mis en valeur, l’univers sonore contribue à l’effet de réalité. En outre, il s’agit de la concrétisation du rêve de l’auteur d’un théatre d’androïdes à travers les “fantasmagories technologiques” du metteur en scène. Ce mémoire met en évidence les potentialités des nouveaux moyens technologiques au service des arts scéniques. / A pesquisa analisa o espetáculo “Os Cegos”, de Maurice Maeterlinck, encenado por Denis Marleau, a fim de discutir o efeito de presença do ator gerado através das máscaras videográficas. Na peça, as imagens de dois atores projetadas em doze máscaras, de tamanho real e em três dimensões, dão a sensação de presença de seus corpos ausentes, uma vez que os atores não estão presentes fisicamente na cena. Além disso, como o ambiente sonoro potencializa a voz e os ruídos, a sonoridade do espetáculo contribui com este efeito de realidade. Outra questão é a concretização do sonho do autor por um teatro de androides através das “Fantasmagories Technologiques” do encenador. O trabalho evidencia as novas possibilidades surgidas nas artes cênicas em função dos novos recursos tecnológicos.

Orientador: Antonio Arnoni Prado / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-05T11:09:32Z (GMT). No. of bitstreams: 1 Medeiros_Elende_M.pdf: 867595 bytes, checksum: 250d9a7d3d3f590ebf975000b299def2 (MD5) Previous issue date: 2005 / Resumo: Esta dissertação é constituída de quatro capítulos que abordam a leitura primordialmente social da obra dramática de Nelson Rodrigues. Constituída de oito peças, a fase denominada Tragédias Cariocas é caracterizada por uma maior aproximação com o público, seja por um olhar voltado ao social (diferente das Peças psicológicas e Peças míticas), seja por aspectos melodramáticos. O primeiro capítulo inicia o estudo das peças por meio de suas personagens ao perceber como as protagonistas ou antagonistas liberam seus desejos a ponto de fazer a trama das peças mudar de rumo e levá-las a um fim trágico. A partir do fim tido por trágico, o segundo capítulo faz a aproximação desse conjunto de peças com o Expressionismo, que, embora já identificado em peças anteriores do dramaturgo, está agora menos presente. No terceiro capítulo verifico a concepção do gênero trágico em Nelson Rodrigues, em convergência com o sentido trágico. Assim, investigo como acontece a formulação do trágico moderno em um autor nacional. Por fim, volto-me para a constituição e consistência dramática das peças, visando a sua formação estética. Neste quarto capítulo, estudo a formação das personagens, dos diálogos e das rubricas, elementos fundamentais para a obra dramática / Abstract: This dissertation is divided in four chapters which approach the primarily social reading of Nelson Rodrigues¿s dramatic work. Formed of eight plays, the phase called Tragédias Cariocas is characterized by the fact that it gets closer to the audience, be it through a socially conscious outlook (different from the Peças pscicológicas and Peças míticas), be it due to melodramatic aspects. The first chapter begins the study of the plays through their characters by noticing how the protagonists or antagonists release their desires to the extent of changing the directions of the plays and taking them to a tragic ending. Just from the endings regarded as tragic, the second chapter brings this set of plays closer to the Expressionism which, although had already been identified in former plays by the playwright, is now present to a minor extent. In the third chapter I verify the conception of the tragic genre in Nelson Rodrigues, in convergence with the tragic sense. Thus, I investigate how the formulation of the modern tragic takes place in the work of a national author. At the end, I turn to the constitution and consistency of the plays, aiming its aesthetics formation. In this fourth chapter, I study the construction of characters, as well as the construction of the dialogues and of the rubrics, which are essential elements in drama / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Gerhart Hauptmann, whose naturalistic period embraced the years 1885-1906, gave the world a negative picture of the woman who by her demeanor or actions destroys a man. In this thesis a distinction is drawn between lower class, unsophisticated women like Lene Thiel or Hanne Sehäl and more highly educated and somewhat emancipated women such as Anna Mahr and Hanna Elias. The former type destroyed the man through more coarse or brutal methods while the latter naturally employed a higher degree of sophistication exercising their destructive influence. Moreover, the former type married the men they subsequently ruined whereas the latter did not. The one aspect which unites all of the Hauptmann women in these works was the destructive influence, and the corresponding weakness of the men. The hopelessness of the situation in which the men found themselves was one of the important characteristics of Naturalism. No defender of women's emancipation, Hauptmann scorned the enlightened, educated women by making them just as unsuccessful as their less educated and unsophisticated counterparts. This point was made more distinctly in a Hauptmann drama of a later period entitled Insel der Grossen Mutter which appeared in 1924. The history of the time indicates the presence of a significant movement in the field of women's emancipation in Europe. Many of the models for Hauptmann's women were taken from real life. With the possible exception of Anna Mahr in Einsame Menschen, Hugh Garten's assertion that Hauptmann's women "are closer than men to the irrational forces of life" appears true. This exception may also be one of the finest characterizations of Hauptmann. The intrigant is remembered as one of the contributions of this commanding figure of German literature.

anos 1882 e 1891. Por meio de catálogos e pesquisa de campo junto a acervos e coleções, procuramos fazer o levantamento de obras do pintor nesse período. A análise das paisagens foi realizada buscando apreender a percepção do artista em relação aos espaços representados. Em diálogo com a fenomenologia, foram utilizados como articulação teórica a noção de conversibilidade de Merleau-Ponty, o conceito de metaxu como explicado por Emanuele Coccia, e, ainda, a relação entre paisagem in visu e paisagem in situ proposta por Anne Cauquelin. A produção de Caron é contextualizada em sua época, sendo considerados os possíveis diálogos com artistas que lhe eram contemporâneos. Desse modo, ao refletir sobre sua pintura de paisagem, refletimos sobre esse gênero também no âmbito da arte brasileira do século XIX. / between the years 1882 and 1891. Through catalogs and field research with collections, we sought to survey the painter's works during that period. The analysis of the landscapes was carried out seeking to apprehend the perception of the artist in relation to the spaces represented. In dialogue with phenomenology, the notion of convertibility of Merleau-Ponty, the concept of metaxu as explained by Emanuele Coccia, and the relation between in visu and in situ landscape proposed by Anne Cauquelin were used as theoretical articulation. The production of Caron is contextualized in his time, being considered the possible dialogues with artists that were him contemporaries. Thus, in considering on his landscape painting, we think over this genre also in the context of nineteenth-century Brazilian art.

This dissertation explores how emerging understandings of science and religion impacted the formation of the modern field of literature in Japan. I argue that many modern Japanese writers “enchanted” literature, giving it a metaphysical value that they thought might stand firm in the face of modernity’s “disenchantment of the world,” to use the famous phrase of Max Weber. To do so, writers leveraged new anti-materialistic, pantheistic, and mystical ontologies that emerged around the globe in the late nineteenth and early twentieth centuries in philosophy, theology, and new fields of knowledge like religious studies. These worldviews were appealing alternatives to “religion,” which many Japanese intellectuals understood mainly as orthodox forms of Christianity and Buddhism, and which had been widely rejected by the early twentieth century under the influence of new scientific and historical hermeneutics. At the same time though, influential voices in the emerging critical discourse of Japanese literature were skeptical of purely materialistic accounts of reality and especially of art, turning instead to new notions of the spirit, the ideal, and the transcendental. I argue that the foundations of literary value and of the social position of the author in modern Japan are rooted in these new ideas about what might be experienced and represented outside the bounds of both scientific materialism and traditional religious dogma. The texts I examine consist of literary and aesthetic treatises, debates on philosophical and theological issues, and biographical and fictional works, all of which were pivotal to the theorization of Japanese literature and the artist, ranging from early efforts in the 1890s and extending through the tumultuous first half of the 20th century. The first chapter of my dissertation explores how canonical writers like Kitamura Tōkoku (1868–1894), Mori Ōgai (1862–1922), and Natsume Sōseki (1867–1916) wove emerging theories of religion and reality into their view of the capacity of poetry and fiction in the 1890s and 1900s. I show how their idea of the genius, or, drawing from Thomas Carlyle, of the “hero,” ascribed to the modern author the same capacity to perceive beyond the five senses as that identified in the prophets of the world religions. This understanding was based on a shared premise that religious texts were products not of divine revelation, but of a universal, non-empirical type of experience of the “inner heart,” the “ideal,” or the “World-soul,” defined as the essence of the world’s religions yet untethered to any one religious faith and fully accessible to the modern genius. The second chapter argues that similar ideas penetrated notions of the modern novel and the author through the early 1910s. A new generation of young writers who launched their careers after Japan’s victory in the Russo-Japanese War, including Yanagi Muneyoshi (1889–1961) and Mushanokōji Saneatsu (1885–1976), imagined Japanese artists as equal members of a global community of artists by identifying universal truths and beauty as the object of all art, religion, and science. In justifying the universal nature of art, writers argued that figures from Tolstoy to Rodin, and from Jesus to the Buddha, were all engaged in the same creative process. I show that these views provided a basis for Japanese authors to claim equality with their Western counterparts, just as it allowed prominent Japanese feminist Hiratsuka Raichō (1886–1971) to claim equality with male writers, since both nationality and gender were seen as unrelated to one’s ability to experience and represent the non-material aspects of reality. Similar views of art were employed to imagine the sociopolitical role of the writer within Japan. The third chapter begins with analysis of two leftist intellectuals, Kōtoku Shūsui (1871–1911) and Ōsugi Sakae (1885–1923), who were both eventually killed for their political activity. Both argued that myths, defined by them as both as religious texts and the great works of modern artists, could lead to individual enlightenment, bringing moral clarity for Kōtoku and a new means of experiencing reality for Ōsugi, thus creating the type of subject that could spark political change. Aristocrats Yanagi and Mushanokōji were unsympathetic with the left, but I argue that these two writers similarly attempted to repurpose religious texts to affect social change. By following in the footsteps of the mystics and prophets of the past, while also never directly addressing the existence of the supernatural, they believed that they could create change while also avoiding the pitfalls of religion. I argue that each of these writers drew from religious traditions in their definition of the author’s continuing social and political legitimacy in the midst of the rapid expansion of both leftist movements and of Japanese imperial power in the 1910s and ‘20s. In the fourth chapter, I argue that across his career, writer Akutagawa Ryūnosuke (1892–1927) balanced a critique of traditional religion with an interest in non-religious forms of spiritual experience. Akutagawa cast the Christian Church as a colonial organization concerned with accumulating power, yet at the same time drew on the transnational discourse connecting the supernatural to both psychological disorder and to the colonial idea of “primitivity” in order to create ambiguous portrayals of inexplicable experiences and phenomena. Akutagawa also identifies the possibility for “poetic” literature to open the door to a type of extraordinary experience described almost exclusively in religious language, which I argue also influenced his own experiments with aphoristic writing. This chapter provides a new understanding of this canonical author’s views of religious experience and of literature, while also positioning his work as one part of a discursive current with deep roots in modern Japan and across the globe. In the epilogue, I consider the afterlife of these currents in the 1930s, ‘40s, and ‘50s. I first discuss how the metaphysical and aesthetic positions analyzed in previous chapters laid the groundwork for some authors to shift toward support for the Japanese state’s embrace of authoritarianism and colonialism. However, even if the emphasis on intuitive knowledge and the deeds of heroic individuals within these forms of knowledge led some towards right-wing politics, the fictional and critical texts of Ishikawa Jun (1899–1987) written in this period provide an excellent example of an alternative path. In Ishikawa’s work, traditional Buddhism and Christianity are objects of incessant yearning, representing an absolute moral and conceptual authority that no longer exists in the grimy wartime and postwar reality. But I argue that parallel to his critique of absolutism, Ishikawa’s characters continue to yearn for something more, and Ishikawa himself identifies a potential for salvation within literature. Ishikawa’s work shows that the idea of an enchanted potentiality within writing continued to undergird literary discourse in Japan even in the face of the massive sociopolitical upheaval of WWII.

This oral interpretation thesis describes and analyzes Chamber Theatre as a technique for the presentation and critical understanding of narrative prose. Arthur Schnitzler and his work are analyzed, and his short story, "The Blind Geronimo and His Brother," is adapted to Chamber Theatre script form. It was discovered that Schnitzler's work is well suited to and would probably benefit from Chamber Theatre productions.

No description available.

The purpose of this study is to present the history of events leading up to the division of the Mormon community of Slaterville, Weber County, Utah by apostasy. The work has been classified chronologically under the following chapter headings: The Founding of Slaterville, Joseph Morris in Slaterville, The Morrisite War, Apostasy Because of Change of Ward Leadership, Influence of Apostasy on Politics, and Influence of Apostasy on Education.