Tesis para optar al grado de Magíster en Literatura / Autor no autoriza el acceso a texto completo de su documento.

O Cabanon é uma obra do arquiteto Le Corbusier localizada em Cap Martin na região conhecida como Côte d´Azur, no sul da França. Esboçada pela primeira vez no final de 1951, teve sua execução finalizada em agosto de 1952. A cabana é um episódio distinto dentro da arquitetura de Le Corbusier. O Cabanon foi a síntese da obra do arquiteto; nesta obra Le Corbusier pôde retornar ao primitivismo, algo tão admirado por ele, através de uma cabana com uma aparência um tanto quanto primitiva – a rusticidade exterior presenta na textura da madeira – e dos seus hábitos um tanto peculiares – gostava de pintar seus murais, nu. Na cabana, colocou em prática o seu estudo sobre as medidas, utilizando o Modulor como ferramenta de projeto; além disso usou das formas da natureza para gerar a planta: o movimento helicoidal da concha e a sua espiral decomposta criaram a forma com que o mobiliário seria disposto e como a circulação ocorreria dentro do recinto. A habitação mínima, uma releitura das celas monásticas de Cartuxa d´Emma, foi um dos temas abordados também nessa pequena casa, assim como o desejo de criar uma célula reproduzível. Os temas abordados no Cabanon podem ser o resumo da história arquitetônica do mestre modernista, que encontrou em Cap Martin o local para exercitar a mente, o corpo, a alma e o espírito. / The Cabanon is a work of the architect Le Corbusier located in Cap Martin in the region known as Côte d'Azur, in the south of France. Sketched for the first time at the end of 1951, its execution was completed in August 1952. The hut is a distinct episode within the architecture of Le Corbusier. The Cabanon was the synthesis of the architect's work; in this work Le Corbusier was able to return to primitivism, something so admired by him, through a hut with a rather primitive appearance - the exterior rusticity presents in the texture of wood - and his somewhat peculiar habits - liked to paint his murals, naked. In the hut, he put into practice his study on the measurements, using Modulor as a design tool; besides that he used the forms of nature to generate the plan: the helical movement of the shell and its decomposed spiral created the way the furniture would be arranged and how the circulation would take place inside the enclosure. The minimal habitation, a re-reading of the monastic cells of Cartuxa d'Emma, was one of the topics addressed in this small house, as well as the desire to create a reproducible cell. The topics covered in the Cabanon may be the summary of the architectural history of the modernist master, who found in Cap Martin the place to exercise mind, body, soul and spirit.

Para o arquiteto Le Corbusier (1887‐1965), a habitação foi mais que um mero edifício: fez parte de um conceito tipológico abrangente, que diz respeito às inovações tecnológicas e sociais, e a todas as demais transformações ocasionadas pela vida moderna na era da máquina. A estratégia de configuração espacial que Le Corbusier inicia com a estrutura Dom‐Ino e Citrohan influenciou toda a produção arquitetônica a partir da década de 1920. Este trabalho se propõe a analisar o tema residencial tendo como viés os projetos e publicações corbusianos, que refletem seus ideais para a formação do conceito de Máquina de Habitar. Partindo‐se do princípio que Le Corbusier cria seus próprios tipos compositivos, trabalha sobre os mesmos, se reinterpreta e se aperfeiçoa são analisadas duas obras consideradas ícones dentro da produção do arquiteto: a Villa Savoye (1928, Poissy) e a Casa Curutchet (1948, La Plata). A Villa Savoye como uma situação ideal, por se tratar da manifestação concreta dos “Cinco Pontos da Nova Arquitetura” publicados em 1927, um refúgio construído em um lote de grandes dimensões e paisagem bucólica A Casa Curutchet como uma situação real, por se manifestar como uma revisão dos Cinco Pontos, os quais se tornam dez quando somados às novas pesquisas do período pós‐guerra, demonstrando a maturidade corbusiana e possibilitando sua inserção em um lote de dimensões reduzidas inserido em um tecido urbano já consolidado. A abordagem ocorre a partir de uma matriz de análise composta por dois eixos estruturadores: um eixo horizontal e um eixo vertical. O primeiro corresponde à análise da narrativa corbusiana considerando os aspectos cronológicos de sua obra arquitetônica e textual, destacando o contexto histórico no qual se inserem as duas obras selecionadas para esta investigação; o segundo eixo corresponde a uma análise da sintaxe corbusiana e conceitos tipológicos e compositivos presentes nos dois exemplares destacados. / To the architect Le Corbusier (1887‐1965), the habitation was more than a mere building: it was part of a comprehensive typological concept which concerns technological and social innovations, and all the other transformations caused by life in the machine age. The special configuration strategy that Le Corbusier started with the structure Dom‐ Ino and Citrohan structures influenced all the architectural production starting from the 1920s. This work proposes to analyze the residential theme taking as bias the corbusian projects and publications, which reflect his ideals for the formation of the concept of the Machine for Living. Taking as principle that Le Corbusier creates his own compositional types, works on them, reinterprets and perfects, we analyze two works which are considered icons within the architect's production: Villa Savoye (1928, Poissy) and Curutchet House (1948 , La Plata). The Villa Savoye as an ideal situation, for being the concrete manifestation of the “Five Points of New Architecture” published in 1927, a refuge built on a large lot of bucolic landscape Curutchet House as a real situation, for manifesting as a revision of the Five Points, which become ten when added to the new researches from the post‐war period, demonstrating the corbusian maturity and allowing its insertion in a smaller lot in an already consolidated urban fabric. The approach occurs from an analysis matrix composed of two structuring axes: a horizontal axis and a vertical axis. The first corresponds to the analysis of the corbusian speech considering the chronological aspects of its architectural and textual work, highlighting the historical contexts in which are inserted the two works selected for this investigation; the second axis corresponds to an analysis of the corbusian syntax along with the typological and compositional concepts presented in both selected samples.

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This thesis re-evaluates Inhumanism, the philosophy of twentieth-century American poet Robinson Jeffers, in light of the Christian eremitic tradition. Inhumanism continues to create controversy around Jeffers' life and work; charges of misanthropy and anti-Americanism have pushed him to the margins of American literature. My first chapter looks at how critics have tried to understand Inhumanism's influences and motives by contextualizing Jeffers' philosophy in many cultural, psychological, literary, and spiritual traditions. Chapter Two explores the main tenets of the eremitic ideal, as expressed in the lives and writings of hermits from the fourth to the twentieth centuries. Chapters Three, Four, and Five then situate Inhumamsm's themes, imagery, and purpose---as set down in Jeffers' poetry from 1903 to 1962---in this eremitic tradition. Looking at Jeffers' early work shows that Inhumanism is not politically-motivated, as many critics claim, but rather is a deep-rooted spiritual orientation, carried in his heart from boyhood. Recontextualizing Jeffers' work in the eremitic tradition shows Inhumanism to be, not an exceptional or dangerous philosophy, but part of the core of western spirituality.

This paper is an investigation of Le Corbusier's Le Poeme De L'Angle Droit (The Poem to the Right Angle). The validity of this work as it applies to architecture, is that through the creation of a mythical order which was grounded in Le Corbusier's perceptions of the modern condition, an understanding of mans' place in the modern world may be found. Through this making of order, Le Corbusier was able to create a geometric 'language' in both the physical and meta-physical sense, i.e. the making of form was based on his 'found' measure of the world. This language of a present day order was developed in his writing and painting and, ultimately, provided the fundamental principles for the creation his work built.

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The poetry of Edwin Muir has inspired a distinctive body of criticism. Realizing that his poetry is inexorably linked with his life, Roger Knight, Michael Phillips, Peter Butter and others have produced fine studies of his work against a biographical background. Margaret Anderson has contributed an important dissertation on the importance of dualism in the poems. R. P. Blackmur, J. R. Watson and Kathleen Raine have published articles that are central in informing any new Muir scholarship.This study intends to illuminate the source of Muir's inspiration, to show that his imagery is drawn from the mythos. A general review of Muir criticism supports the theory that the imaginative background he knew as the Fable, which underlies all temporal human behavior (labeled as the Story) is also the collective unconscious of Jung, the Spiritus Mundi of Yeats, the "inseeing" of Rilke, and the Mythos of Aristotle.The study reviews Muir criticism and the poetic technique of Muir, develops a special definition of "mythos" and goes on, through the explication of selected Muir poems, to show how his poetic and philosophical growth was influenced by his unique ability to gain access to the most powerful of Aristotle's four modes of Rhetoric. Finally, the study crystalizes Muir's overall aesthetic in the oxymoronic conclusion to his 1956 masterpiece, "The Horses," the term "free servitude."Muir felt that we can only function at our full potential when we use the power of our imagination to realize the essential duality of the human condition. We are, to an extent, free, and in a state of servitude. In Freudian terms, the superego enslaves us through guilt and our debt to the concept of civilization, while the id urges us on the ultimate freedom represented by the unchecked expression of violence and sex.The study concludes with an examination of Muir's final enigmatic symbol, found in the title of his last collection of poems: One Foot in Eden. Man, through the imaginative realization of his immortality, may plant one foot in Eden; the other foot remains trapped in the Labyrinth, Muir's symbol for the bewildering, impersonal complexity of our twentieth century beaurocractic wasteland. The transcendence of this entrapment gave Muir his purpose, in life and in art.

Nesta dissertação visamos discutir as concepções acerca de Modernismo e nacionalidade a partir do ideário estético elaborado pelos intelectuais da revista Festa: mensário de Pensamento e de arte, no decorrer da sua primeira fase, ou seja, 1927 – 1929, contemporânea aos grupos modernistas paulistas, demonstrando uma visão sobre arte divergente daquelas expostas por outros grupos. Para isso, é apresentado um breve panorama sobre as origens do nacionalismo literário na Europa e no Brasil; as confluências e divergências entre Festa e outros periódicos e a inquietação do grupo diante das inovações culturais do início do século XX. A fim de compreender as percepções dos intelectuais do Mensário sobre arte, centramo-nos na pesquisa dos artigos de seus principais colaboradores: Andrade Muricy, Tasso da Silveira, Henrique Abílio e Barretto Filho. Após a análise desse ideário, investigamos a relação entre o aparato estético idealizado pelos autores e a concretização do mesmo no âmbito da literatura. Assim, utilizamos os contos de Adelino Magalhães, um dos principais realizadores do alvitre estético do Mensário, sobretudo aqueles pertencentes às obras publicadas na década de 20, para verificar em que medida a criação literária do autor realiza os pressupostos teóricos do grupo. Em forma de anexos, acrescentamos uma antologia de artigos de Festa e de contos de Adelino Magalhães que consideramos essenciais para a apreensão das aspirações do Periódico.