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My doctoral thesis focuses on the twentieth-century Scottish writer, Jessie Kesson, examining the effects of the cultural construction of gender from a feminist psychoanalytic perspective. Although my primary focus is on the detrimental effects traditional gender roles have on girls and women, recently published studies claiming that 'masculinity' is in a state of crisis are of particular value to my work. The reasons contemporary critics offer for this 'crisis in masculinity' vary widely. There are those who are convinced that women are to blame for abandoning their traditional roles as wives and mothers and moving too far into areas of society that are traditionally 'male'. This, they believe, results in a 'feminised' society that has an adverse effect on the development and well-being of boys and men. Those who support this argument generally believe that social, emotional and psychological distinctions between the genders are biologically inherent rather than socially constructed, and would prefer to see gender positions polarised rather than assimilated. At the other end of the scale are those who believe that the behaviours associated with traditional 'masculinity' are outmoded, fostering a form of emotional distrophy that is responsible for the increase in male suicide and autistic-like behaviours. Those who support this argument believe that males should develop a new set of behavioural traits more closely aligned to those traditionally thought of as 'feminine': traits like spontaneity, expressiveness, empathy and compassion. I have found the latter arguments exciting on two counts: firstly because an increasing number of male critics are joining female critics in acknowledging that many of the traits and behaviours traditionally associated with 'masculinity' are life-denying for both sexes; secondly, and most importantly, because these critics are echoing the findings of the feminist psychoanalytic critic, Jessica Benjamin, whose work I have found so stimulating. But, where critics have pointed to the problem ('masculine' behaviour) and recommended that it be modified to something more closely resembling 'feminine' behaviour, Benjamin has not only identified the source of the problem, she has developed a revised theory of human development, 'Intersubjectivity', which offers a positive and transformative approach to human behaviour. I examine Benjamin�s theory closely in Chapter Two, and make use of it in succeeding chapters. In May 2000, financed by the Bamforth Scholarship fund (with help from the Humanities Division of the University of Otago), I attended a conference at the University of St Andrews entitled 'Scotland: The Gendered Nation', which gave me a wider view of the concerns of contemporary Scottish writers and scholars. The paper I presented at the conference, "That great brute of a bunion!": the construction of masculinity in Jessie Kesson�s Glitter of Mica�, was published in the Spring 2001 issue of Scottish Studies Review. Following the conference I spent the rest of May in Scotland finding out more about Kesson and her writing under the generous tutelage of Kesson�s biographer, Dr Isobel (Tait) Murray, from the University of Aberdeen. Kesson wrote many plays for the BBC, and I was able to read Dr Murray�s copies of some of these unpublished works in the security of the Kings College Library, along with back copies of North-East Review to which Kesson contributed. In Edinburgh I visited the National Library of Scotland which holds back copies of The Scots Magazine containing pertinent articles by Kesson and her contemporaries. Then I travelled to those parts of North-East Scotland which feature most precisely in Kesson�s life and writing. My Scottish month was invaluable for its insight into the critical literary climate of Scotland, and for allowing me to reach Jessie Kesson imaginatively: through the boarded-up windows of the Orphanage at Skene; by the ruined Cathedral at Elgin; at the top of Our Lady�s Lane; and on the steps of her cottar house at Westertown Farm. [SEE FOOTNOTE] It was a privilege to trace Kesson�s footsteps and then to return to the other side of the world with a much keener sense of her 'place'. I would like to think this has carried over into my work, the structure of which is as follows: Chapter One gives a brief history of Jessie Kesson�s life and writing. Chapter Two focuses on Jessica Benjamin the feminist psychoanalytic critic whose work provides the main theoretical framework for my thesis. Chapter Three considers the expression of female sexuality in the novella Where the Apple Ripens, and the way society conspires to have it diminish rather than enhance a sense of female self-hood. Where the Apple Ripens is not Kesson�s first published work but, because it introduces the central concerns of my thesis through the experiences of an adolescent girl, I have chosen to begin with it rather than with The White Bird Passes and to work towards increasingly complex gender relations in succeeding chapters. In Chapter Four, The White Bird Passes, I look at the way Kesson depicts girls and women as instruments of male sexuality, controlled by a nervous patriarchy whose institutions (family, education, church) take away the promise of her female characters. Chapter Five is centred on The Glitter of Mica, and considers the consequences of a masculinity constructed around the destruction of 'the Mother'. Chapter Six considers the fate of the anonymous young woman in Another Time, Another Place, and examines the conventions of the social order that deny her self-definition. Chapter Seven also examines the social conventions that shape and limit the lives of Kesson�s female characters - this time in a selection of Kesson�s short stories and poems. In Chapter Eight I look at selected writers from the eighteenth to the twentieth-century whose work, in diverse and often contradictory ways, has contributed to an interrogation of gender in Scottish literature. This is not an historical and systematic survey of gender relations in Scotland; it is not even an historical and systematic survey of gender questions in Scottish literature. Rather, it is an impressionistic account of such matters in some selected Scottish literature - selected in part to cover some highly influential figures, and in part from Jessie Kesson�s more immediate context: feminine, rural, the North East. There is a place for such historical and systematic work, of course, and I hope that someone will do it. All I can hope for is that I may have provided some beginning but more importantly, that my work in this chapter will sharpen, further, an understanding of Jessie Kesson. I begin with the life and work of the poet, Robert Burns. As well as featuring in Kesson�s Glitter of Mica, Burns and his legacy are matters of influence in the gendered ideal of 'Scottishness' for both laymen and writers at home and abroad. Following Burns, I contrast the unconscious gender ideology which permeates Neil Gunn�s writing with the progressive awareness of gender issues that characterises the work of Lewis Grassic Gibbon and aligns the latter with Kesson�s. I then examine the idealised landscapes and sentimentalised characters of the Kailyard era and the hostile response of the anti-Kailyard writers. This leads into an examination of Hugh MacDiarmid�s poem, A Drunk Man Looks at the Thistle. MacDiarmid, like Burns, was monumental on the Scottish literary scene and his efforts to rekindle the spirit of the primitive Scot through literature have made him influential with a smaller but equally significant group. What is of particular relevance to my work is that the ideal of 'Scottishness' fostered by writers such as Burns and MacDiarmid is heavily dependent on prescribed gender positions which promote the exploitation of women while rendering them subservient to men and politically powerless. It is from within this environment of gender-based Scottishness that Jessie Kesson and other women writers, were writing and arguing. Therefore, lastly, in Chapter Eight, I concentrate on those women writers whose work has the most relevance to the time, place and ideological content of Kesson�s writing: Violet Jacob, Catherine Carswell, Lorna Moon, Willa Muir and Nan Shepherd. The writing of all of these women is concerned with psychic well-being centred on human relations and/or self-determination and, of the five, the writings of Willa Muir and Nan Shepherd are considered more fully because of the particular contribution they make to my examination of Jessie Kesson: Willa Muir commented, both directly and indirectly, on gender matters. Nan Shepherd, quite apart from being a friend of many years to Jessie Kesson, wrote novels in which gender issues are entirely central. FOOTNOTE: I am indebted to Sir Maitland Mackie for giving me a guided tour of Westertown Farm, the setting for Darklands in The Glitter of Mica.

Little has been written of Yat Malmgren’s actor training technique, despite its international influence in mainstream western actor training. Created originally for the construction and performance of characters in theatrical and screen realism, at the Drama Centre, London, in the 1960-1970s, Malmgren’s actor training process, known as Character Analysis, forms a body of knowledge, which is transmitted practically and experientially to trainee actors. This thesis outlines the Malmgren technique’s traditions, processes of transmission and centres primarily on the modes of understanding that underlie this practical system. This research sets a series of widening contextualistations of understandings of the modalities of embedded/embodied knowledge disseminated through the training process. Interwoven throughout this thesis, the researcher’s voice appears as a Researcher’s Journal, placing the embodied awareness of the researcher, as one of the principal Malmgren trainers in Australia. The material and engendered locus for this research is my own embodied consciousness. This research differentiates Malmgren’s training process both from Laban’s movement techniques and from other twentieth century western actor training processes. It begins with the traditions of Rudolf Laban’s movement theories, from which the Malmgren technique arose, Hermeneutic phenomenology is the methodological framework used to investigate the meaning of the Malmgren technique to those studying it, taking into account contemporary performance and communication theories of agency and embodiment. Benner’s (1994) hermeneutic phenomenological method of data collection and analysis, used previously in nursing research, is newly applied to the field of acting. Participants from three full-time acting courses, where Yat Malmgren’s technique is the principal mode of actor training, provide the interview data to articulate a series of phenomenological themes. This research uses Maurice Merleau-Ponty’s image of the chiasm, where materiality and consciousness interweave as an underlying metaphorical structure for embodiment. This research proposes a six-step progression, through which Malmgren’s technique enables trainee actors to develop a growing performative awareness of their bodily-located behaviours. This research also posits the generation of heightened differentiation of sensory inputs and expressions for trainee actors through the Malmgren technique, and how this opens up possibilities for transformation in modes of embodiment for the trainee. Using feminist theories, this research links this development of embodied awareness, in particular the awareness of non-verbal communication and the ‘unspoken’, with a greater understanding of alterity. Whilst the Malmgren technique was developed for purposes of theatrical realism, this research indicates that the technique’s impact facilitates a range of modes of performance by investigating the less articulated forms of performative communication. / Doctor of Philosophy (PhD)

A importância da tragédia clássica, assim como da arte grega em geral, tem sido analisada não só individualmente mas, também, em relação a muitas obras que foram produzidas na história da literatura. William Shakespeare, por exemplo, escreveu várias peças que contém elementos de tragédia, ou possuem uma visão trágica da vida Hamlet, uma das obras mais conhecidas do autor, pode ser lembrada como sendo uma tragédia moderna. A própria ideia de tragédia moderna é importante neste trabalho, já que através de alguns conceitos, pode-se explicar a transposição de elementos de tragédia clássica a s obras de diferentes períodos históricos, com as necessárias e naturais transformações que a tragédia sofreu devida a s diferenças de tempo, espaço, cultura, etc. De qualquer modo, o efeito duradouro desta antiga forma de arte pode dar origem a inúmeros estudos. Será analisada nesta dissertação a visão trágica do romance The Portrait of a Lady, de Henry James, publicado em 1881, atrav6s das ações da personagem principal e nas mudanças que ocorrem no rumo dos acontecimentos dentro do romance. Isabel Archer, a heroína do romance em estudo, enfrenta ambiguidade e contradições internas ao julgar e escolher a ação que ira tomar, ação esta que ira modificar o rumo de sua vida. Apesar de haver, também, na tragédia clássica, um herói, ou heroína, enfrentando a difícil questão de decidir qual ação deve tomar, esta decisão não só depende muitas vezes de fatores externos ( questões familiares, de estado, ou influencia divina), mas pode influir nestas próprias questões. / The importance of classical tragedy, and Greek art in general, has been analyzed in itself and in relation to many works which were produced throughout the history of literature. The idea of "modern tragedy" is important in this sense, since it will explain the transportation of elements of Greek tragedy to literary works of diverse historical periods, with the necessary and natural transformation tragedy went through due to the differences of time, place, culture, etc. In any case, the long-lasting influence of this ancient form of art is a source of a great number of studies The Portrait of a Lady, by Henry James, published in 1881, is a modern novel which will be analyzed in this dissertation as having a tragic view of life. This can be seen through the actions of the principal character and in the turn of events which occur. The modern elements of tragedy present in the novel will be related to the classical ones to analyze the dilemma the heroine, Isabel Archer, faces, and to describe the ambiguity and contradictions this heroine deals with in judging and choosing the action she will take The necessity to organize the narrative patterns which indicated the tragic view in James' novel, led to a brief review of some ideas taken from semiotics, specifically those connected to the study of the polarity of signs in language. In this way, signs could be extracted from the novel to form two pairs of poles which functioned as a means of interpreting the tragedy of the heroine, Isabel, through the ambiguity present in the images used in narrative.

Na dissertação, estudou-se a poesia de Manoel de Barros, como contribuição ao processo criativo do projetista/desenhista (designer) no âmbito inicial de um projeto de concepção/desenho (design). Dá-se atenção especial a duas abordagens da obra do poeta: as ‘pré-coisas’ e a atividade de ‘transver’, que consistem, respectivamente, nos processos ainda sem significado ou forma, e naqueles vistos de outras maneiras. A partir destes conceitos, estabeleceram-se relações com alguns princípios criativos e ferramentas de auxílio à geração de ideias já existentes. Encontrou-se possibilidade de gerar novos princípios criativos a partir da poesia do autor. Para viabilizar esta hipótese, buscou-se suporte teórico em estudos de semiologia, em abordagens sobre criatividade e nas relações do processo (design) com forma, função, material e sensações atribuídos aos produtos. Desta maneira, esta pesquisa resultou na geração de três princípios criativos gerados a partir das noções de ‘pré-coisas’ e da atividade de ‘transver’. Esses, se denominaram, respectivamente, Princípio de Arquissema, que se fundamenta em pensar “no antes”, Princípio de Comparamento, o qual visa atribuir semelhanças, e Princípio de Constativo, que busca ampliar a significação de objetos. Para melhor entender como esses princípios se relacionam ao processo criativo do desenhista (designer), realizaram-se dois exemplos, nos quais se buscou gerar ideias com auxílio dos princípios propostos. Utilizou-se, como exemplo, um objeto ainda em plano conceitual, chamado por Manoel de Barros de ‘desobjeto’, ou “abridor de amanhecer”, a fim de ofertar sugestões para que tal desobjeto passasse a ser um objeto. Por fim, também se buscou problematizar um tema ocasional, optando-se pelo da chuva, a fim de fornecer ideias, ainda conceituais, às conseqüências que ela possa causar. / In this study, it was investigated the poetry of Manoel de Barros, as a contribution to a designer’s creative process, in the original scope of a design project. Special attention is given to two approaches of the poet's work: the ‘pre-things’, and the activity of transver, consisting, respectively, of processes yet without meaning or form, and of those seen in other ways. From these concepts, were established relationships with some creative principles and with tools that help the generation of ideas already set. It was found the possibility of generating new creative principles from the author's poetry. In order to test this hypothesis, it was sought theoretical support in studies of semiology, in creative approaches, and in relations of design with form, function, material, and sensations attached to the products. Thus, this research resulted in the generation of three creative principles obtained from conceptions of ‘prethings’ and of ‘transver’ activity. These were called, respectively, Principle of Arquissema, which is based on thinking "in before", Principle of Comparamento, that proposes similarities, and Principle of Constativo, which search for expanding the meaning of objects. For better understanding of how these principles relate to the designer’s creative process, there were performed two examples, in which ideas were generated with the aid of the proposed principles. As an example, it was used an object yet in conceptual outline, called by Manoel de Barros as ‘desobjeto’, or ‘dawn opener’, in order to offer suggestions to transform such ‘desobjeto’ in an object. At last, it was also examined an occasional theme, whose option was for that of rain, in order to offer ideas, even conceptual, and the consequences they may cause.

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Este trabalho busca verificar a síntese estilística ocorrida no Scherzo da Sonata para violão, Op. 47 (1976), de Alberto Ginastera, através da comparação com scherzi ginasterianos precedentes: Vivacissimo, do Primeiro quarteto de cordas, Op. 20 (1948); Presto misterioso, da Sonata para piano No. 1, Op. 22 (1952); Presto magico, do Segundo quarteto de cordas, Op. 26 (1958); Scherzo fantastico, do Quinteto para piano, Op. 29 (1963); Fantastico, do Terceiro quarteto de cordas, Op. 40 (1973). Nessas obras é observada a recorrência de técnicas e materiais a partir de parâmetros harmônico/melódicos e rítmicos. Também são apresentadas, por motivo de contextualização, uma revisão bibliográfica da divisão estilística tradicional do opus ginasteriano e uma análise da estrutura normativa (forma) do Scherzo, Op. 47. / The purpose of this study is to discover the stylistic synthesis of the Scherzo of the Sonata for Guitar, Op. 47 (1976), by Alberto Ginastera through the comparison with Ginasterian scherzi written before this work, including: Vivacissimo, of the First String Quartet, Op. 20 (1948); Presto misterioso, of the Sonata for Piano No. 1, Op. 22 (1952); Presto magico, from the Second String Quartet, Op. 26 (1958); Scherzo fantastico, from the Quintet for Piano, Op. 29 (1963); Fantastico, of the Third String Quartet, Op. 40 (1973). The recurrence of materials and techniques within the harmonic/melodic and rhythmic parameters are observed. A bibliographic review of the traditional style of the Ginasterian opus is carried out, as well as an analysis of the structural form of the Scherzo, Op. 47. / Este trabajo busca la verificación de la presencia de una síntesis estilística en el Scherzo de la Sonata para guitarra, Op. 47 (1976), de Alberto Ginastera, por medio de la comparación con scherzi ginasterianos precedentes a esta obra, siendo ellos: Vivacissimo, del Primer cuarteto de cuerdas, Op. 20 (1948); Presto misterioso, de la Sonata para piano No. 1, Op. 22 (1952); Presto magico, del Segundo cuarteto de cuerdas, Op. 26 (1958); Scherzo fantastico, del Quinteto para piano, Op. 29 (1963); Fantastico, del Tercero cuarteto de cuerdas, Op. 40 (1973). En estas piezas se observarán la recurrencia de técnicas y materiales partiendo de parámetros harmónico/melódicos y rítmicos. Así como son presentadas, por una contextualización necesaria, una revisión de la bibliografía acerca de la división estilística tradicional del opus ginasteriano y un análisis de la estructura normativa del Scherzo, Op. 47.

The thesis deals with a visual concept for a feature film based on the novel „The Scarlet Plague“ by Jack London. It consists of two parts: a theoretical part and a practical part, which contains author’s own design for the film. The first, theoretical part describes the history of the genre, and analysis the visual concepts of a few post-apocalyptic films that are relevant to the concept chosen for „The Scarlet Plague“, particularly Rise of the Planet of the Apes (director Rupert Wyatt, 2011), Dawn of the Planet of the Apes (director Matt Reeves, 2014), Waterworld (director Kevin Reynolds, 1995), I am Legend (director Francis Lawrence, 2007), Mad Max: Fury Road (director Georges Miller, 2015). In the second, practical part, the approach to the concept of „The Scarlet Plague“ is described and accompanied with the visual execution of selected scenes.

FERREIRA, Maria Andreia. Livre-arbítrio: um debate filosófico e neurocientífico. 2016. 147f. - Dissertação (Mestrado) - Universidade Federal do Ceará, Programa de Pós-Graduação em Filosofia, Fortaleza (CE), 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-01-04T14:15:45Z No. of bitstreams: 1 Dissertacao de Maria Andreia Ferreira.pdf: 1392682 bytes, checksum: 93b6bd185a35c9b0ba0053c6840d2ba5 (MD5) / Rejected by Maria Josineide Góis (josineide@ufc.br), reason: on 2017-01-06T12:01:18Z (GMT) / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-01-06T13:44:23Z No. of bitstreams: 1 2016_dis_maferreira.pdf: 1392682 bytes, checksum: 93b6bd185a35c9b0ba0053c6840d2ba5 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-01-25T10:37:28Z (GMT) No. of bitstreams: 1 2016_dis_maferreira.pdf: 1392682 bytes, checksum: 93b6bd185a35c9b0ba0053c6840d2ba5 (MD5) / Made available in DSpace on 2017-01-25T10:37:28Z (GMT). No. of bitstreams: 1 2016_dis_maferreira.pdf: 1392682 bytes, checksum: 93b6bd185a35c9b0ba0053c6840d2ba5 (MD5) Previous issue date: 2016 / Sabemos que o problema do livre-arbítrio é tratado, pelo menos, desde Epiteto. A liberdade de escolha que “julgamos” possuir é algo que supomos ser inerente à natureza humana. Além disso, parece que só poderemos ser pessoalmente responsáveis por nossos atos se os realizarmos livremente. Acreditamos que ser responsáveis por nossas ações e escolhas é o que nos torna diferentes dos outros animais. No entanto, apesar de todas essas nossas intuições, não só algumas correntes filosóficas defendem que não somos livres, mas também a ciência parece nos dizer que somos sistemas ou máquinas determinísticas. Os resultados de vários experimentos neurocientíficos têm sugerido que não escolhemos conscientemente fazer o que fazemos. E, posto que a noção de livre-arbítrio tem como pré-requisito básico a noção de consciência, então parece que há um conflito entre nossas intuições cotidianas e as conclusões científicas e filosóficas. O objetivo central desta dissertação será, não somente analisar a coerência conceitual das diversas teses sobre o livre-arbítrio que surgiram na Grécia clássica e nos estudos neurocientíficos atuais, mas também mostrar que as explicações que tentam conectar os fenômenos subjetivos e objetivos relativos ao problema nos levaram, ao menos, até o presente momento, a uma lacuna explicativa. Isto é, uma lacuna na explicação sobre como podemos conectar nossas intuições subjetivas sobre como somos os autores de nossas ações e as explicações objetivas sobre como nosso corpo executa tais ações.

O escritor mineiro Campos de Carvalho publicou seus principais romances entre 1956 e 1964 tendo uma recepção relativamente fria por parte dos críticos. Escrevendo em um momento em que o nacional-desenvolvimentismo reinava no país e sob a égide da literatura engajada, viu-se excluído das obras canônicas de seu tempo. Com o golpe militar de 1964 começaram a ocorrer modificações significativas no campo cultural brasileiro, quando o engajamento começou a ser contestado. Tal ruptura deu-se abruptamente no ano de 1968 quando, com o decreto do Ato Institucional nº5, o padrões da produção artística nacional passaram a refletir essa nova realidade. Com um Estado extremamente violento e com as liberdades democráticas limitadas por repressão e censura, foram necessários novos espaços de expressão artística como a chamada imprensa alternativa. Nesse novo contexto, marcado por movimentos como contracultura, marginalidade e Tropicalismo, Campos de Carvalho e sua obra passaram a ser ressignificados, encontrando novos horizontes interpretativos para sua literatura. Contribuindo como colunista do jornal O Pasquim, encontrou novos leitores. / The writer Campos de Carvalho published his major novels between 1956 and 1964 having a relatively indifferent reception from critics. Writing in a time when the national developmentalism reigned in the country and under the auspices of committed literature, he was excluded from the canonical works of his time. With the military coup of 1964 began to be significant changes in the Brazilian cultural field, when the engagement began to be challenged. This rupture occurred abruptly in 1968 when, with the decree of Institutional Act No. 5, the standards of the national artistic production began to reflect this new reality. With an extremely violent state and democratic freedoms limited by repression and censorship, it took new artistic expression of spaces such as call alternative press. In this new context, marked by movements such counterculture, marginality and Tropicalismo, Campos de Carvalho and his work began to be reevaluated, finding new interpretative horizons for its literature. Contributing as a columnist for O Pasquim, found new readers.