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This thesis provides a wide-ranging account of the work of Robert Louis Stevenson, tracing an unyielding preoccupation with the mode of romance throughout his famously diverse body of writing. It argues that Stevenson's prose retools romance in several important ways; these include modernization, disenchantment, and the reinterpretation of romance as a practical force able to reach beyond textual confines in order to carve out long-lasting psychological pathways in a reader. In its pursuit of these arguments, the thesis draws upon and appends a significant amount of archival material never before used, including excerpts from The Hair Trunk – Stevenson's first extended piece of fiction, still unpublished in English. More widely, it analyses the appearance of romance within four major aspects of Stevenson's prose: aesthetic theme, structure, setting, and heroism, each of which is the focus of a discrete chapter. The introduction engages with the history and definition of romance itself, arguing that it is most usefully approached as mode rather than genre in the context of Stevenson's writing. Chapter I then assesses Stevenson's direct critical engagement with romance, and appraises his wider literary aesthetic in that light. Romance is shown to be built in to the way he writes about writing, adventure being intrinsic to his authorial quest for adequate expression. Chapter II goes on to examine Stevenson's relationship with structure, and argues that self-reflexivity interacts with romance to form the habitual core of his creative writing. Chapter III investigates the use of cities, forests and seas as sites of modern romance within Stevenson's oeuvre, arguing that he eschews descriptive Romanticism and instead lauds a primarily practical approach towards the navigation of these environments. Finally, Chapter IV demonstrates Stevenson's perception of a relationship between authorship and the heroic, charting his use of romance as part of a progressive evocation of the failure of heroism itself as a sustainable modern ideal.

Este trabalho tem como intuito o estudo comparado entre Mário de Andrade (1893 - 1945) e José Carlos Mariátegui (1894 - 1930), através de seus textos críticos sobre arte e literatura. A proposta para o desenvolvimento deste estudo centrou-se na análise do projeto estético e ideológico destes autores para que, a partir desta prerrogativa, pudéssemos indagar sobre o papel do artista e do intelectual frente a sua época. No primeiro capítulo desta dissertação abordamos a relação entre Mário de Andrade e José Carlos Mariátegui perante o modernismo brasileiro e peruano. No segundo, tratamos da dicotomia entre a tradição e a modernidade, através de um \"método moderno\" de observação crítica da arte e da literatura, comum a ambos os autores. No terceiro capítulo desenvolvemos uma comparação entre os preceitos advindos das vanguardas européias junto a dois artistas latino-americanos: Candido Portinari e José Sabogal. Por fim, procuramos examinar as condições nas quais o artista e o intelectual desenvolvem suas obras e o conceito de mediação decorrente de suas atuações. / Este trabajo tiene por objetivo el estudio comparado de Mário de Andrade (1893 - 1945) y José Carlos Mariátegui (1894 - 1930), a través de sus textos críticos sobre arte y literatura. La propuesta para el desarrollo de este estudio se centró en el análisis del proyecto estético e ideológico de estos autores para poder indagar, a partir de esta prerrogativa, el papel del artista y del intelectual frente a su época. En el primer capítulo de esta disertación abordamos la relación entre Mário de Andrade y José Carlos Mariátegui frente al modernismo brasileño y peruano. En el segundo, tratamos de la dicotomía entre la tradición y la modernidad, a través de un \"método moderno\" de observación crítica del arte y de la literatura común a ambos autores. En el tercer capítulo desarrollamos una comparación entre los preceptos provenientes de las vanguardias europeas y dos artistas latinoamericanos: Candido Portinari y José Sabogal. Finalmente, procuramos examinar las condiciones en las que el artista y el intelectual desarrollan sus obras y el concepto de mediación que resulta de sus actuaciones.

Orientador: José Ricardo Barbosa Gonçalves / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Economia / Made available in DSpace on 2018-08-25T12:56:11Z (GMT). No. of bitstreams: 1 Andrade_AndreLuizAlipiode_D.pdf: 2230823 bytes, checksum: 2ff1ef95572f51f8ad6ca2e14a27b012 (MD5) Previous issue date: 2013 / Resumo: A Sociedade Auxiliadora da Indústria Nacional foi uma entidade cuja existência atravessou todo o período do Brasil Império, 1827 a 1894. Seu objetivo principal era a aplicação dos conhecimentos científicos e técnicos na atividade produtiva, buscando a sua maior racionalização com a finalidade da promoção do progresso econômico. Entre seus membros mais ativos estavam profissionais com formação em cursos de ciências naturais, matemática, física, médicos e engenheiros. A influência da economia política nas propostas de reformas socioeconômicas de alguns desses membros é o tema principal desse trabalho. O período a partir de 1850 é de grande importância, pois com a disponibilização do dinheiro antes utilizado no tráfico de escravos, abriu-se a possibilidade de dar maior ênfase às propostas de reformas socioeconômicas. A corrente de pensamento da economia política que teve maior influência aqui foi a de um grupo francês que se caracterizava pelo liberalismo econômico, que se preocupava com a formação de uma sociedade baseada na economia de mercado. Destacamos André Rebouças neste trabalho e fazemos um estudo mais aprofundado da influência da economia política em suas propostas reformistas, por ser ele, não só um dos membros mais ativos e identificados com os objetivos modernizantes da Auxiliadora, mas também por demonstrar maior conhecimento das ideias dos economistas políticos aqui referidos / Abstract: The Sociedade Auxiliadora da Indústria Nacional was one institution whose existence went through the entire period of imperial Brazil, from 1927 until 1892. Its main purpose was the application of scientific knowledge in the productive activity seeking its greater rationalization whose goal was the promotion of economic progress. Among its most active members were professionals with courses in natural sciences, physics, mathematics, doctors and engineers. The influence of political economy in the reform proposals of these members is the main theme of this work. Considering the limitations imposed by the slave order, it was precisely in the period from 1850, with the provision of the money before used in the slave trade, which opened-up the possibility of considering reforms that, through the instrumentalization of political economy ideas, would make possible de dissemination of scientific and technical knowledge and its application in economic activity. The economic thinking that had influence here was of a French group of political economists which was characterized by defending the economic liberalism, and was concerned with the formation of a market society We highlight André Rebouças in this work and make a further study of the influence of the political economy in his reform proposals, because he is not only one of the most active members and identified with the Auxiliadora¿s modernizing goals, but also because he demonstrated greater knowledge of the ideas of the political economists refered to herein / Doutorado / Historia Economica / Doutor em Desenvolvimento Economico

L’objet d’étude de cette thèse porte sur les anciens lieux d’habitation parisiens d’André Kertész et de Brassaï, tels qu’ils existent aujourd’hui. Il repose sur une analyse de photographies puisées dans leurs archives et sur un travail de terrain effectué dans ces lieux désormais habités par d’autres occupants. La prise de contact avec les habitants actuels a été l’occasion d’une collaboration participative puisque ces images d’archives ont généré un travail de création collective : placés à différents postes, différents points de vue préalablement identifiés dans ces anciens clichés, ces habitants ont effectué eux-mêmes un travail de re-photographie simultané. Cette recherche est le résultat d’une expérience urbaine qui combine documentation, interprétation et création. L’étude de deux archives photographiques, nous a permis d’identifier sept intérieurs et de répertorier un corpus de cinquante-sept clichés d’époque. Le caractère social et interactif de notre méthode de travail vise à une meilleure appréhension de ces lieux d’habitation et de notre héritage culturel dans une perspective de transmission; l’aboutissement étant une production plastique, une image panoramique cumulant différentes époques dans un même espace. Pour l’étude des rapports relationnelles des images et la définition des champs de représentation et d’interprétation, nous nous sommes appuyés sur le schéma de l’intertextualité. Nous avons cherché des analogies permettant de comparer les créations re-photographiques avec le modèle genettien de l’intertextualité. Ce principe d’une organisation « intervisuelle » a été complété par des méthodes théoriques chronologiques, topographiques et médiatiques. / The topic of my thesis is the former dwelling places of two famous Hungarian photographers, André Kertész and Brassaï. It identifies the pieces of the archives which were made in the private spaces of the artists. The identification is carried out through getting into the flats, into the spaces. Getting in touch with the present occupants is the beginning of a collective creative work. The pictures are taken in these spaces, from different point of views, but at the same time. My work is a documentation of an urban experience with a structure of a network. The research, which is built on the visual content of the archives, presents factual results and interpretational creative activity as well. Seven found interiors and the two archives have been examined, 57 pictures have been identified, which shed light on new parts of the artists’ biographies. The social requirement of the method of working up serves the collective cognition of cultural memories, the discovery of one’s own living space and the possibilities of passing them on. The act of Rephotography, points towards the future and makes the recipient think on. To interpret the relative relationship between the pictures, the thesis examines the possible representative domains of the photographical metaphor of intertextuality. It looks for analogies which enable that the works made in intervisual spirit could be compared to Genette’s intertextuality and it completes the method of arrangement with further chronological, topographical and medial theoretical schemes.

Phénomène protéiforme, l’abstraction picturale a bouleversé le monde des arts à l’aube du XXᵉ siècle. En Europe, de la Belle époque aux Années folles, les peintres d’avant-garde ont croisé le chemin de poètes et de chorégraphes avec lesquels ils partageaient le même désir de changement. Sous l’égide de mécènes ou d’amateurs éclairés, leurs collaborations ont donné naissance à des spectacles d’un genre nouveau où les frontières entre les différentes disciplines se trouvent abolies. Associer la peinture, art de l'espace, à la danse, qui y introduit le temps, soulève quelques questions qui ont fait émerger l’idée d’un « ballet plastique » se substituant au « ballet dramatique » théorisé par Noverre. L’art chorégraphique et l’art pictural ont exercé l’un sur l’autre une influence réciproque dont la recherche commence seulement à mesurer l’importance. Cependant, peut-on parler d’abstraction totale dans un domaine où rien n’est plus concret qu’un corps qui danse ? S’il n’y a pas une évolution linéaire alliant la figuration à l’abstraction entre 1909 à 1933, certains principes mis en œuvre sur les toiles ont été appliqués à la fois sur la scène et dans les coulisses du ballet. Les peintres vont-ils réussir à rompre l’illusion en sortant de la cage de scène ? En agrandissant leurs toiles, vont-ils réussir autre chose qu’un tableau animé ? Que devient le livret dans un ballet où la lettre s’efface devant les couleurs et les formes ? Poser la question de l’abstraction en littérature revient à remettre en cause l’existence même d’un texte comme support du ballet. Or, le livret, loin de disparaître, se métamorphose et occupe aussi une place de choix dans cette composition abstraite. / In the run-up to the 20th century, a multifaceted phenomenon called pictorial abstraction has turned the art community upside down. In Europe, from the “Belle Epoque” to the Roaring Twenties, avant-garde painters have crossed paths with poets and choreographers with whom they shared their desire for change. Their collaborations with donors and enlightened amateurs gave rise to a new kind of shows in which the boundaries between the various artistic disciplines have been abolished. The association of painting to spatial art and dance that also brought in time, raised questions that led to an idea of a “plastic ballet” as a substitute for “dramatic ballet”; an idea put forward by Noverre. The choreographic and pictorial worlds have had a reciprocal influence on one another; however, the research world is only now starting to consider the significance of these interactions. Anyhow, is it possible to talk about a total abstraction within this particular field, knowing that nothing can be more concrete than a dancing body? This trend is not a linear evolution from figuration towards abstraction between 1909 and 1933 but some principles used on canvases were applied in the ballet world, both on stage and backstage. Will painters manage to break the illusion by breaking out of the cage-like stage? By expanding the sizes of their paintings, will they have anything else to show than animated tableaux? What happens to the libretto in a ballet where letters are outweighed by colours and shapes? Questioning abstraction in literature involves questioning the mere existence of texts as the underpinning of ballets. Yet, the libretto is far from disappearing ; it transforms itself and is thus at the forefront of this abstract composition.

Cette thèse se propose d'analyser les événements internes à l'Empire ottoman envers les Arméniens de 1894 jusqu'en 1914 aux yeux de l'opinion publique française à travers les sources journalistiques françaises. De 1894, début des massacres des Arméniens jusqu'à la prise de pouvoir des Jeunes-Turcs (1908), comment les années d'Abdul-Hamid II envers la population arménienne furent-ils perçus et quelle fut la vision du gouvernement unioniste (1908-1914) face aux Arméniens ? Voilà un aperçu des principales problématiques qui sera abordé à travers notre étude. / This thesis aims to analyze the internal events in the Ottoman Empire against Armenians from 1894 until 1914 in the eyes of the French public through the French journalists' sources. 1894 start of the massacres of Armenians to the takeover of the Young Turks (1908), how the years of Abdul Hamid II to the Armenian population were they received and what was the vision of the Union government (1908 -1914) against the Armenians? This is an overview of the main issues that will be addressed through the study.

Thesis (DTh (Systematic Theology and Ecclesiology))—Stellenbosch University, 2008. / This study concerns the relationship between mysticism and social action (widely understood, as including political and economic action), or as it was formulated for centuries in the Christian tradition: the relationship between action and contemplation. Chapter 1 differentiates between different forms of Christian spirituality. Also, the reason for this study is stated: the apparent search amongst certain contemporary Reformed Christians for a more contemplative spirituality, while preserving the socially and politically involved character of Reformed spirituality. Chapter 2 investigates the origins and evelopment of contemplation (or “mysticism”, as it is commonly called today). Taking into account the history of the meaning of the term “mysticism”, a contemporary definition is sought that would address the changes, distortions and misconceptions that have developed over the centuries. A major focus in Chapter 2 is the relationship between action and contemplation/mysticism. This issue is reviewed with reference to its history, from patristic times until approximately the time of the Counter-reformation. The extent to which distortions regarding this issue have occurred, as well as possible subsequent corrections of these, are also examined in this chapter. In Chapter 3, a short overview is given of the recent revaluation and incorporation of mysticism alongside a commitment to social action in the theology of a number of prominent “mystical-political” Roman-Catholic theologians of the 20th century. The focus then shifts to the revaluation of mysticism and the reformulation of mystical-prophetic theology in the theological project of the 20th-century North American theologian David Tracy. Of especial importance is his use of the Ricoeurian methodology of “suspicion and retrieval” to retrieve and incorporate the Christian mystical tradition into his own theology, as this forms the ethodological basis for the next chapter. Chapter 4 takes the form of an “exercise of suspicion and retrieval” with a view to find and retrieve possible mystical elements in the Reformed tradition via an investigation into the history, way of life and spirituality of the Roman Catholic contemplative monastic order of the Carthusians – specifically their tradition of manibus praedicare and the manifestations thereof. Chapter 5 focuses on the theology and spirituality of the Dutch theologian K.H. (Kornelis) Miskotte as an example of a Reformed theologian in whose theology elements of both contemplation/mysticism and social action are present. Contrary to the views of many researchers into Miskotte’s theology (as well as Miskotte himself) it is concluded that: In light of the recent, sometimes retrieved, views of mysticism by present-day scholars of mysticism – as well as those of the mystical-political theologians, especially David Tracy – Miskotte’s spirituality can indeed be seen as a form of mystical-political spirituality. This is true despite some profound differences between the mystical-prophetic theologians and Tracy on the one hand and Miskotte on the other – differences that, however, stamp Miskotte’s mystical-political spirituality as authentically Reformed.

Through an examination of Joseph Roth’s reportage and fiction published between 1923 and 1932, this thesis seeks to provide a systematic analysis of a particular aspect of the author’s literary style, namely his use of sharply focused visual representations, which are termed Heuristic Visuals. Close textual analysis, supplemented by insights from reader-response theory, psychology, psycholinguistics and sociology illuminate the function of these visual representations. The thesis also seeks to discover whether there are significant differences and correspondences in the use of visual representations between the reportage and fiction genres. Roth believed that writers should be engagiert, and that the truth could only be arrived at through close observation of reality, not subordinated to theory. The research analyses the techniques by which Roth challenges his readers and encourages them to discover the truth for themselves. Three basic variants of Heuristic Visuals are identified, and their use in different contexts, including that of dialectical presentations, is explored. There is evidence of the use of different variants of Heuristic Visuals according to the respective rhetorical demands of particular thematic issues. It has also been possible to establish synchronic correspondences between the different genres, and diachronic correspondences within genres. Although there are examples within the reportage where the entire article is based on an Heuristic Visual, the use of Heuristic Visuals cannot be seen as a key organizing principle in Roth’s work as a whole. As his mastery of the technique reaches its highest point in the early 1930s, Heuristic Visuals are often incorporated into the reconstruction of a complete sensory experience. Analysis of Roth’s heuristic use of visual representations has led to important insights, including a reinterpretation of the endings of Roth’s two most famous novels: Hiob and Radetzkymarsch.

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