This thesis explores the critical question of the ethics of creation as it emerges to the forefront of contemporary thought in the late twentieth century. The question is examined through three independent yet interrelated motifs: the legend of the Golem, the symbol of the Western Wall in Jerusalem, and the literature of Franz Kafka. An understanding of these three motifs, in all their implications, can provide valuable commentary and insightful reflections so that a discourse on a possible moral and ethical ground for affirmative creation can be engaged. It is imperative, in light of the destructive potentiality of our creative making, to address this discourse if architecture is to regain cultural relevance.

There is no abstract available for this thesis.

This study presented a comprehensive review of Kenneth Waltz's structural realism of international politics. Waltz pursues parsimonious theory by adopting elegant definitions of structure. His neorealistic approach is an impressive intellectual achievement. It is an elegant, simple, deductively rigorous instrument geared for scientific contribution. Yet this pure structural realism provides an insufficient basis for explaining international relations. Neorealism is one presentation of reality among many. It does not pretend to reflect all realities. Thus, I suggest that we adopt the complex interdependence concept as a thought experiment regarding that which international politics might look like if the basic assumptions of realism were revised and how we overcome inefficient and over-consumptuous control of great powers that defend the status-quo via the excuse for international stability. / Department of Political Science

The purpose of this study is to show the interrelationships between the pre-war conditions in partitioned Poland, the reasons for Polish immigration to the United States, and the effect of the First World War on the Poles in Europe and America. The organization of relief programs in the United States resulted in a deep concern for the plight of the Poles and was a major factor in the reopening and awareness of the Polish Question which had been dormant for more than a century. The study also places emphasis on the part played by the New York Times, whose news releases extensively covered the areas of Polish relief and self-determination.The dissertation is composed of a preface, introduction, seven chapters, and a conclusion. The introduction sets the basis for the reopening of the Polish Question by delving into Polish nationalism, the partition years, and the outbreak of the Great War in 1914. Chapter One is devoted to the early Years of Woodrow Wilson, one of the chief actors in the final self-determination for Poland. The character and personality analysis is carried through in Chapter Two as Wilson is considered as Governor and President. In Chapter Three the pre-Great War Polish emigration is considered. Background to the Polish Question is set by presenting life in Russian, Austrian, and German Poland and the strivings of Marx, Engels and the Polish Socialists for Polish independence.Chapter Four traces Polish immigration to the United States from the early settlements in Texas to the great immigration years just before the Great War. The study traces the formation and organization of Polish-American groups which formed a so-called "Fourth Part of Poland," but, with the exception of independence-minded Polish Socialists in America, worked primarily for the bettering of the Polish lot in the United States. Chapter Five presents the devastation which befell the Poles as their land became the battleground in Eastern Europe. The Poles in America cooperated in trying to ease the suffering of their European brethren. The story of Polish relief is traced through the New York Times, State Department documents, and the indefatigable labors of Ignace Jan Paderewski, famous Polish pianist and composer, who arrived in the United States in 1915 to spur on relief for Poland. The diplomatic manuevering is presented to show that the Poles were caught in the middle of the BritishGerman views on war relief and as a consequence received no adequate aid until after the November, 1918, Armistice. Throughout this story of Polish relief President Wilson stands out as a humanitarian and champion of Polish relief.Chapter Six probes into the relationship among Paderewski, Colonel House and Wilson. This relationship proved to be a vital factor in Wilson's support of selfdetermination and independence when the time was ripe in 1918. The chapter also considers the role played by the Polish voters in the 1916 election. The study casts doubt upon the crucial part which is credited to the Polish vote in the Wilson victory.The simultaneous events which occurred in Europe and America are covered in Chapter Seven. In Europe the Russians, Austro-Hungarians and Germans had already accepted the concept of Polish autonomy. The manpower needs of the European combatants forced them to a change of attitude. With recognition by the Russian Provisional Government in March, 1917, the Allies recognized the Polish National Committee in Paris and the Polish army. The United States followed in this respect. With Polish-American solidarity pressuring for Polish independence, complemented by an Allied policy to dissolve the Austro-Hungarian Empire, independence for Poland was assured. / Department of History

This thesis analyses the modes of narration in the 1978 novel Casa de campo by Chilean writer José Donoso (1924-96), an overlooked aspect of its neobaroque aesthetic. It surveys some of the most important conceptualizations of the baroque as well as of the neobaroque, utilizing Severo Sarduy‟s theory of the neobaroque in order to examine the text‟s plurality of points of view and narrative modes. Not only does Donoso employ first- and third-person narrations in Casa de campo, the narrative voice seems, simultaneously, omniscient and limited, intrusive and objective, often unreliable, and frequently self-conscious. A wide range of narrative techniques appear in the novel, including free indirect discourse, stream of consciousness, interior monologue, and passages reminiscent of the so-called testimonio. This plurality of points of view and narrative modes constitute Donoso‟s revolt against contemporary literary conventions, and exemplify the diversity of the neobaroque. / Graduate

Thesis (M.A.)--York University, 2004. Graduate Programme in English. / Typescript. Includes bibliographical references (leaves [127-129]. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss&rft%5Fval%5Ffmt=info:ofi/fmt:kev:mtx:dissertation&rft%5Fdat=xri:pqdiss:MQ99283

Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-05Bitstream added on 2014-06-13T19:55:18Z : No. of bitstreams: 1 furlanetto_pf_me_assis.pdf: 716688 bytes, checksum: bc0efde3dd6db151baa0ee30dc1a663b (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / As obras de um dos mais conhecidos humoristas brasileiros, Millôr Fernandes, já foram bastante exploradas pelos pesquisadores de uma forma geral. Mesmo assim, há ainda uma vertente desse autor a ser estudada: o Millôr tradutor. O nosso objetivo nesta dissertação é analisar a peça Pygmalion, escrita por George Bernard Shaw em 1913, e sua tradução para o português pelo autor-tradutor Millôr Fernandes em 1963. A peça em cinco atos trata do professor de fonética Henry Higgins que se prontifica a transformar Eliza Doolittle, uma vendedora de flores que fala o dialeto cockney, em uma verdadeira dama, ensinando-a a falar “corretamente”. O que nos chama a atenção nesta obra de Shaw é o dialeto cockney e as muitas expressões que encontramos no decorrer da peça. A nossa intenção é, portanto, mostrar as soluções encontradas por Millôr ao traduzir Pygmalion. No primeiro capítulo, temos um panorama geral do gênero teatral, da tradução em si e posteriormente a história da tradução de teatro, assunto pouco explorado até hoje pelos teóricos e que nos é importante para que possamos ter uma visão geral da linha que cada um destes teóricos seguem. No segundo capítulo exploramos um pouco acerca do autor da peça, George Bernard Shaw, mostrando suas obras, sua vida e suas características principais, além de termos uma análise da peça com o objetivo de que os leitores possam entender quais são os pontos principais da obra e sua idéia central. O terceiro capítulo é o que nomeia esta dissertação, pois é onde analisamos a tradução para o português de Pygmalion, mostrando quais foram as maiores dificuldades encontradas por Millôr, chamado por nós de autor-tradutor, e as soluções apresentadas por ele para resolver o problema da... / The works by one of the most known Brazilian humorists, Millôr Fernandes, have already been explored by many researchers in general. However there is still an aspect of this author to be studied: Millôr as a translator. Our main objective in this dissertation is to analyze the work Pygmalion written by George Bernard Shaw in 1913 and translated to Portuguese by the author-translator Millôr Fernandes in 1963. The play is divided in five acts and deals with the phonetics professor, Henry Higgins, who is in charge of transforming Eliza Doolittle, a flower saleswoman who speaks cockney dialect, in a truthful lady, teaching her how to speak English properly. What draws our attention in Shaw’s work is the cockney dialect and the plenty of expressions that we can find in the play. Our main intention here is to show the difficulties and the solutions found out by Millôr during Pygmalion translation. In the first chapter we have a general panorama about the theatre genre, the translation itself and later about the history of the theatre translation, a subject that is not much explored by scholars and that is very important for us because we can have a general view of each tendency that these scholars follow. The second chapter explores a little bit about the play author, George Bernard Shaw, showing his works, his life and his main characteristics, besides having a play analysis to allow the readers a better understanding about the main points of the play and its central idea. The third chapter names this dissertation and analyses the Portuguese translation, showing the major difficulties found by Millôr, whom we call an author-translator, and the solutions he presents to the cultural... (Complete abstract click electronic access below)

El título de esta tesis corresponde con una propuesta para analizar las estrategias del narrador en la proyección de los personajes y sus conflictos dispuestos en la trama de algunas novelas de José Donoso. Los procesos de enmascaramiento y desenmascaramiento están conformados por elementos que tienen injerencia significativa tanto en la estructura y forma de la narración, como en la interpretación de los temas y el contenido de las obras. La máscara es la metáfora desde la que se plantea la forma de ocultar y de revelar aspectos relacionados con la identidad y los roles que poseen los personajes en determinados universos narrativos. De tal manera que los elementos que sirven como agentes del enmascaramiento y que se estructuran alrededor de la máscara son: la perspectiva de observación del personaje, la disposición de la trama, la voz narrativa, la naturaleza de la identidad del personaje, los roles y el significado de los sobrenombres de los personajes, aspectos internos y externos que configuran al personaje, la deliberada ambigüedad narrativa, el carácter polifónico del universo narrativo, el significado simbólico de los conceptos bajtinianos de “carnaval” y “polifonía”, el carácter realista y fantástico del universo narrativo, las transformaciones e inversiones en diferentes órdenes, los temas fundamentales como las relaciones de poder, el humor y la ironía, la autorreferencia y la metaficción. Orquestados por José Donoso, estos elementos caracterizan la constitución de los procesos que analizamos en nuestro trabajo a partir de un corpus de cinco obras representativas. Estas cinco narraciones sólo se abordan en función de un personaje o una pareja de personajes para mostrar el enmascaramiento y desenmascaramiento. Por otro lado, nuestro trabajo está organizado en dos partes principales. En la primera, planteamos el estado de la cuestión y las nociones teóricas fundamentales para sostener nuestros argumentos. De tal manera que, en primer lugar, revisamos el concepto de “máscara” y sus posibilidades connotativas de significado. Luego, explicamos el sentido de la técnica del enmascaramiento. Y, en tercer lugar, abordamos conceptos importantes estrechamente ligados a nuestra tesis: la identidad, la alteridad, los conceptos de “carnaval” y de novela “polifónica”, propuestos por Mijaíl Bajtín, y el rol del lector en la decodificación de los textos. En la segunda parte, desarrollamos la propuesta teórica en cinco ejemplos. La novela Este domingo presenta el enmascaramiento del personaje Chepa en función del deterioro y la posesión del otro. El lugar sin límites ofrece un proceso de enmascaramiento en “La Manuela” vinculado a la noción de “carnaval”. El obsceno pájaro de la noche permite observar en “El Mudito” las complejas posibilidades de enmascaramiento más allá de la verosimilitud realista y fantástica, para concentrar su significado en una moderna consideración de la anulación de la identidad y una aproximación a la esencia del vacío. Mediante Tres novelitas burguesas nos aproximamos a un proceso de enmascaramiento del personaje Sylvia que excede los límites de una sola trama y se expande indirectamente en las tres narraciones a partir de las relaciones de poder, la inversión de roles y el juego de estereotipos. Por último, la novela El jardín de al lado se aborda en la pareja Julio-Gloria para explicar las posibilidades de enmascaramiento en relación con la metaficción y la dualidad. Como sustento de estas observaciones nuestro trabajo se cierra con un acápite de Conclusiones y Bibliografía revisada para este estudio. / Tesis

Memoria para optar al titulo de Periodista / El autor no autoriza el acceso a texto completo de su documento / “Un buen caballero talquino” diría Enrique Lafourcade para definir a uno de los más destacados narradores de Hispanoamérica del último siglo. José Donoso fue un testigo de su tiempo y sus declaraciones muestran claramente cual era la línea que se seguía en la época. No fue un gran polemizador - incluso sus críticos lo acusaban de tibio- pero también fue calificado de neurótico, intelectural burgués, crítico e inaccesible. El, risueño simplemente decía “creo que todas las definiciones que se han dado de mí son ciertas. No veo qué pueda hacer, ya no puedo cambiar” . Se autodefinía como un animal literario, un ente volante, alejado de la contingencia política y de los idearios sociales de los años sesenta. A pesar de ello, su obra está calificada dentro del boom literario latinoamericano, del cual comparte sus temas e influencias comunes. Donoso describe a nuestro Chile, a veces abyecto y patético, otras más humorístico y lúcido, pero terriblemente reconocible. Lucidez es un extraño concepto para explicarlo, ya que precisamente su obra no establece correspondencias exactas con la realidad, la alegoría y lo ambiguo fueron su mejor arma. Pablo Neruda creía que José Donoso debía escribir la gran novela social de Chile. Donoso no hizo caso a este anuncio porque no se consideraba el elegido, pero después de todo él fue encargado de mostrar uno de los mejores retratos del Chile del siglo XX, dando fin al criollismo en la novela social chilena. El mismo novelista, recuerda a Manuel Rojas indicándole el camino a seguir, y declaraba “Él me dijo que yo era el heredero de la tradición realista chilena, cosa que me dio mucho miedo. Yo no quería ... y por eso me fue de Chile”. El siguiente trabajo busca indagar sobre temas específicos. Primero, ahondar acerca de su posición frente al boom literatio latinoamericano de los años sesenta, luego entregar una sinopsis de los grandes temas que conformaron su obra. Y por último, dar una mirada a su pensamiento crítico frente a la sociedad chilena y también proporcionar un resumen de los últimos años de su vida. Todas las citas que aparecen en este texto han sido extractadas de libros y entrevistas realizadas a su persona, o en su defecto, a crónicas y trabajos cuyo principal tema ha sido su biografía y obra

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2008. / Submitted by Larissa Ferreira dos Angelos (ferreirangelos@gmail.com) on 2009-09-16T18:32:55Z No. of bitstreams: 1 2008_PabloGalasPedrosa.pdf: 966235 bytes, checksum: 8b1f50186a5074d6cc313281acc483eb (MD5) / Approved for entry into archive by Gomes Neide(nagomes2005@gmail.com) on 2010-07-01T11:57:21Z (GMT) No. of bitstreams: 1 2008_PabloGalasPedrosa.pdf: 966235 bytes, checksum: 8b1f50186a5074d6cc313281acc483eb (MD5) / Made available in DSpace on 2010-07-01T11:57:21Z (GMT). No. of bitstreams: 1 2008_PabloGalasPedrosa.pdf: 966235 bytes, checksum: 8b1f50186a5074d6cc313281acc483eb (MD5) Previous issue date: 2008-05 / A pesquisa analisa, a partir da literatura de Kafka, o funcionamento do sistema jurídico. A forma auto-referente como esse sistema se reproduz e o seu isolamento epistêmico são objeto de representação estética na obra de Kafka. Assim, sua literatura converte-se numa espécie de travestimento paródico do pensamento sistêmico de Niklas Luhmann. As teses e conceitos de Luhmann são confrontados com a literalidade das imagens de Kafka. Para Luhmann, o sistema jurídico deve ocupar-se de regular sua própria função preservando sua independência em relação aos outros sistemas através de sua clausura autoreferencial. Mas essa clausura não significa isolamento, e sim uma abertura do sistema jurídico para o seu meio. Como sistema autopoiético, todas as trocas do sistema jurídico com seu entorno são mediadas pelo seu código comunicativo – jurídico/não jurídico – através do qual são selecionadas as informações possíveis de reprodução a partir dessa lógica interna. A escrita de Kafka, especialmente em O processo e O castelo, é compreendida como apropriações imagéticas desse discurso, revelando, pelo exagero e distorções, uma versão desdenhada ou intangível pelo pensamento formal. A autopoiesis do sistema jurídico converte-se em um mecanismo narcísico e profilático. Pela mediação cômica de Kafka, o funcionamento auto-referente do sistema jurídico alcança o nível fundamental da ideologia, da fantasia ideológica que estrutura a própria realidade, desvelando o fundamento místico de sua autoridade. A literatura kafkiana antecipa os sintomas da transição para um novo regime de poder, chamado Império, através do qual o capitalismo reinventa suas formas de controle e hegemonia. A passagem do panoptismo para uma sociedade de controle, a corrupção, o vazio ontológico, a comunicação, a diluição da dicotomia dentro/fora, público/privado encontram, como constantes dessa nova ordem, seus correspondentes na ficção de Kafka. Para construir uma relação dialógica com o pensamento de Luhmann e traçar alternativas nesse novo cenário ideológico, Kafka constrói um espaço adequado para as experimentações transversais do saber, como um rizoma deleuziano. O conto A toca é arquitetura estética dessa gnosiologia kafkiana. _______________________________________________________________________________________ ABSTRACT / The research analyses, from the literature of Kafka, the functioning of the legal system. The self-reference reproduction and the espistemic isolation of the legal system are objects of aesthetic representation in the Kafka’s literature. Thus, its literature becomes a kind of parody of systemic thinking of Niklas Luhmann. The theories and concepts of sociologist are confronted with the literally images of Kafka. For Luhmann, the legal system should deal with its own function to preserve the independence in relation to other systems through of closing self-referential. This closing does not mean isolation, but an opening of the legal system to its environment. As autopoietic system, all exchanges of the legal system with its environment are mediated by its own communicative code - legal/non-legal - to select the information possible to reproduce from that internal logic. The Kafka’s writing, especially The Trial and The Castle, is understood like a literary appropriations of this speech to show, by the exaggeration and distortion, a version untouchable by formal reason. The autopoiesis of the legal system converts into a narcissistic and prophylactic mechanism. For the mediation of Kafka’s laugh, the operation self-referential of the legal system reaches the critical level of ideology, the ideological fantasy that structure reality, showing the mystical foundation of the judicial authority. Kafka’s literature anticipates the symptoms of transition to a new system of power, called Empire, by which capitalism reinvented its forms of control and hegemony. The passage of panoptic for a society of control, corruption and the empty ontological, the communication, the disappearance of the dichotomies inside/outside, public/private have, as evidence of this new order, correspondents in the fiction of Kafka. To maintain a dialectical relationship with the thinking of Luhmann and propose alternatives in this new ideological context, Kafka build adequate space for transversal experimentation of knowledge, like a deleuziano rhizome. The story called The Hole is the aesthetics architecture of this kafkan’s theory of knowledge.