Made available in DSpace on 2016-04-27T19:30:55Z (GMT). No. of bitstreams: 1 Francisco Moacir Assuncao Filho.pdf: 10107020 bytes, checksum: 99e0df2d4781309eaf15ce9fab1fc8ca (MD5) Previous issue date: 2014-04-04 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The research deals with the Paulista Revolt July 5, 1924 , known as the second lieutenants revolt that took place in São Paulo , between the 5th and 28th of July of that year , leaving a balance of 503 dead and 4,846 wounded , according to officers. The study, which draws on the lessons of historians Edward P. Thompson and Carlo Ginzburg, aimed to rescue the stories of ordinary people who lived through the conflict and were among its main victims, despite not belonging to either of the two warring sides - the rebels, who took the city, and legal forces that bombed to retake it. These fellows, residents of the neighborhoods most affected in the conflict, as Mooca, Bras and Ipiranga, are almost forgotten in short bibliography and in theses and dissertations dealing with the matter. Thus, rescuing his career from traces such as letters, newspaper reports, accounts and photographs can collaborate to bring new perspectives on the topic Uprising Lieutenants, 1924 understudied in Brazilian historiography and even in the state. In the research, worked with books of memoirs and chroniclers, the big news of the working press and press photos of the conflict, letters, memorials and archives materials throughout Brazil. Classic works on the subject were also used. The main topic was the participation of civilians in the conflict , their suffering , the horror of the bombing and their strategies for survival in the face of a civil war on at the time , second most important city in Brazil , after the federal capital , Rio January . We worked in the same way, with criticism of opponents and the justifications for the bombing of situationists the state capital and the identification of weapons of war used in the comparison, both legal, as the rebel. At the same time, the research sought to put into perspective the facts, highlighting the rise even before the New State, strong authoritarian tendencies in the Brazilian State, during the government of Arthur Bernardes and his successor, Washington Luiz , mainly geared to repression anarchists , rebels and transgressors of the order in general workers . The exodus of the population during the conflict - have left the city on the run about 250 thousand people, according to the City - and the looting caused by famine and shortages were other themes addressed in research / A pesquisa versa sobre a revolta paulista de 5 de julho de 1924, conhecida como a segunda revolta tenentista, que ocorreu em São Paulo, entre os dias 5 e 28 de julho daquele ano, deixando um saldo de 503 mortos e 4.846 feridos, segundo dados oficiais. O estudo, que se baseia nas lições dos historiadores Edward P. Thompson e Carlo Ginzburg, teve por objetivo resgatar as histórias de pessoas comuns que viveram o conflito e figuraram entre suas principais vítimas, embora não integrassem nenhum dos dois lados em conflito - os rebeldes, que tomaram a cidade, e as forças legais, que a bombardearam para retomá-la. Esses sujeitos, moradores dos bairros mais atingidos no conflito, como Mooca, Brás e Ipiranga, são praticamente esquecidos na pequena bibliografia e nas dissertações e teses que tratam do assunto. Assim, resgatar sua trajetória a partir dos vestígios como cartas, notícias de jornais, relatos e fotografias pode colaborar no sentido de trazer novos olhares sobre o tema Revolta Tenentista de 1924, pouco estudado na historiografia brasileira e até mesmo na paulista. Na pesquisa, trabalhou-se com livros de memorialistas e cronistas, notícias da grande imprensa e da imprensa operária, fotografias do conflito, cartas, memoriais e materiais de arquivos espalhados pelo Brasil. Também foram utilizadas obras clássicas sobre o tema. O principal eixo temático foi a participação da população civil no conflito, seus sofrimentos, o horror do bombardeio e suas estratégias de sobrevivência diante de uma guerra civil travada na, à época, segunda mais importante cidade do Brasil, depois da capital federal, o Rio de Janeiro. Trabalhou-se, da mesma forma, com as críticas de opositores e as justificativas de situacionistas para o bombardeio à capital paulista e com a identificação das armas de guerra utilizadas no confronto, tanto dos legais, quanto dos rebeldes. Ao mesmo tempo, a pesquisa procurou colocar em perspectiva os fatos, ao destacar o surgimento, ainda antes do Estado Novo, de fortes tendências autoritárias no Estado brasileiro, durante o governo de Arthur Bernardes e de seu sucessor, Washington Luiz, principalmente voltado à repressão de operários anarquistas, rebeldes e transgressores da ordem em geral. O êxodo da população durante o conflito deixaram a cidade em fuga cerca de 250 mil pessoas, de acordo com a Prefeitura e os saques, provocados pela fome e o desabastecimento, foram outros assuntos tratados na pesquisa

La présente étude consiste en une analyse littéraire du roman Vendredi ou les limbes du Pacifique de Michel Tournier. L'objectif de cet ouvrage propose de démontrer l'ampleur toujours actuelle des implications et manifestations du mythe dans le roman contemporain. Nous abordons ainsi l'oeuvre de Tournier sous un angle principalement inspiré des méthodes et démarches propres à la mythocritique qui considère comme point central à son type d'analyse le mythe et ses différentes sphères d'influence. La théorie psychanalytique de Sigmund Freud et les considérations conceptuelles exposées dans Le Roman familial des névrosés sont ici utilisées pour organiser l'établissement de parallèles observables, d'une part entre les métamorphoses que subissent les constructions imaginaires et fantasmatiques de l'enfant dans les régions relatives à sa filiation parentale, et d'autre part, les références constantes aux mythes d'origine dispersées tout au long du roman Vendredi ou les limbes du Pacifique et structurant l'essence même de son récit. C'est en réfléchissant sur les thématiques chères à l'auteur, les aventures de son héros, l'élévation spirituelle à laquelle il est voué par une série de rites initiatiques déterminés et les dimensions que prennent le temps et l'espace dans sa solitude absolue que nous voulons non seulement faire preuve de la présence indubitable du mythe dans le roman contemporain mais aussi de son inévitable influence tant au niveau de la création artistique que dans les phénomènes identitaires du sujet. Le récit des aventures du Robinson de Tournier et des étapes de son cheminement mythique est principalement structuré par quatre grandes séquences initiatiques marquées du sceau des différents éléments naturels terrestres: aquatique, tellurique, éolien et solaire. La transcendance de la condition humaine et le statut divin auquels accède Robinson en fin de roman ne pourront être effectués que par son identification progressive à ces éléments et par la reproduction des mécanismes invariables de tout parcours initiatique. L'analyse ci-jointe démontre ainsi comment la dimension mythique des romans et héros tourniériens, tout comme celle du roman contemporain, est décelable lorsque soumise aux investigations psychanalytiques. La légitimité d'une filiation parentale fantasmatique telle que l'expose Le Roman familial des névrosés de Freud, tout en permettant l'établissement d'une convergence envers des origines ou destinées de nature divine pour le héros, est au coeur même des processus identitaires de ce dernier et participe à la revalorisation du mythe comme phénomène fondamental pour les sciences humaines et les champs d'études visant une compréhension rigoureuse du monde moderne. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Michel Tournier, Vendredi ou les limbes du pacifique, Roman familial des névrosés, Freud, Mythe, Rite initiatique, Gémellité, Androgyne.

Ed. commerciale de thèse : Habilitationsschrift : Köln : 2000. / Bibliogr. p. [372]-393. Index.

Thèse de doctorat : Etudes anglophones : Lyon 2 : 2001. / Titre provenant de l'écran-titre. Bibliogr. Index.

This dissertation takes as its premise the belief that privileging the text of a play as the site of meaning is inadequate, given the social nature of theatre. This privileging is evident in the low critical opinion of dramatic adaptations of prose works: the dramatic text, incomplete by nature, cannot compete with the self-sufficient narrative text which it adapts. Rather, as described in the introductory chapter, the socio-historical context of a production must be investigated to flesh out the meaning of the text. Four theatrical adaptations of Franz Kafka's novel Der Prozefi (1925) illustrate a history not only of Kafka reception, but also of society, politics and theatrical practice in Europe and North America. The first adaptation, Le Proces (1947), by Jean-Louis Barrault and Andre Gide, is interpreted in the second chapter in the context of post-Occupation tensions in France, including a sense of guilt left by collaboration. Against an intellectual backdrop of existentialism and absurdism, Le Proces renders Joseph K. as a Jewish victim of unjust authorities. The third chapter describes actor/playwright Steven Berkoff’s antipathy to the middle-class conformism of 1970s Britain, which turns his adaptation, The Trial (1973), into a highly personal protest in which K. is destroyed by bourgeois "mediocrity." Peter Weiss's German adaptation, Der Prozefi (1975), treated in the fourth chapter, attempts more sweeping Marxist social criticism, depicting Kafka's world as a historically specific Eastern Europe in the days leading up to the Great War: K. is a bank employee who, by refusing to ally himself with the workers, seals his own fate under exploitative capitalism. Finally, Sally Clark's Canadian The Trial of Judith K. (1989) is described in the fifth chapter as a cross-gender revision of the novel reflecting both a feminist critique of male oppression and the freedom of interpretation of canonical works enabled by North America's relative intellectual isolation from the canon's European roots. K., as a victim of patriarchy, is a woman. The diversity of these four adaptations pleads for the acceptance of dramatic adaptation as a creative form of interpretation, rather than as an ill-advised misappropriation, of its source.

Austrai – nedidelė mažuma, kuri turėjo įtaką Lietuvos tarpukario gyvenimui. Vieni čia gyveno ir dirbo, kiti tiesiog atvykdavo poilsiauti. Pasirinktos dvi svarbiausios austrų lokalizacijos vietos Lietuvoje - Kaunas ir Klaipėdos kraštas. Magistrinio darbo objektas – austrai, gyvenę ar lankęsi Kaune ir Klaipėdos krašte 1924-1939 m. bei jų įvažiavimą ir buvimą reglamentuojantys dokumentai.. Darbo tikslas: išsiaiškinti dėl kokių priežasčių austrai imigravo 1924 – 1939 m. į Lietuvą ir kokį vaidmenį suvaidino Klaipėdos krašto ir Kauno pramonėje ir kultūriniame gyvenime Išanalizavus pirminius ir antrinius šaltinius, galima teigti, kad Klaipėdos krašte gyveno nedidelė austrų bendruomenė. Iš viso identifikuota 16 austrų. Keletas iš jų dirbo pramonės sektoriuje, taip pat restorane ir privačiose įstaigose. Dėl spartaus kultūros ir pramonės vystymosi daugiausia į Lietuvą atvykusiųjų austrų gyveno Kaune. Čia dauguma dirbo kaip artistai įvairiuose restoranuose. Didelė dalis atvykusiųjų dirbo ir pramonėje. Gamyklose dirbę austrai gaudavo didžiausią darbo užmokestį. Austrų, gyvenančių ir dirbančių Klaipėdos krašte 1924-1939 skaičius nežymiai augo. Daugiausia gyveno 1930 m. – 14 austrų. Kaune 1924-1929 m. gyvenusiųjų austrų skaičius svyravo nuo 30 iki 38. 1929 m. viduryje liko tik trečdalis gyvenusiųjų austrų. Austrų, gyvenančių ir dirbančių Klaipėdos krašte 1924-1939 skaičius nežymiai augo. Daugiausia gyveno 1930 m. – 14 austrų. Kaune 1924-1929 m. gyvenusiųjų austrų skaičius svyravo nuo 30... [toliau žr. visą tekstą] / Austrians – a small minority that had an impact on the life of inter-war Lithuania. Some of them lived and worked here, the others used to come here for rest. Two major Austrian locations in Lithuania have been chosen – Kaunas and Klaipėda Region. Object of the master paper – Austrians who visited and lived in Kaunas and Klaipėda Region in 1924-1939 and the documents regulating their immigration and stay. Objective of the paper: to find out the reasons causing Austrians’ immigration to Lithuania in 1924-1939 and to find out what role they played in industry and cultural life in Kaunas and Klaipėda Region. Upon the analysis of primary and secondary sources, it can be stated that a small Austrian community lived in Klaipėda Region. In total 16 Austrians have been identified. Some of them worked in the industrial sector, also in a restaurant and private institutions. The biggest part of Austrians after immigration lived in Kaunas due to the quick development of culture and industry. Most of them worked here as artists in various restaurants. A big part of immigrants also worked in industry. Austrians who worked in the factories used to get the biggest salaries. The number of Austrians who lived and worked in Klaipėda Region in the years 1924-1939 was increasing little by little. The most Austrians lived in 1930 – 14 Austrians. The number of Austrians living in Kaunas in the years 1924-1939 ranged between 30 and 38. In the middle of the year 1929 only the third of the Austrians... [to full text]

The purpose of this study was two-fold. The biographical study was undertaken to provide an English-language source which would incorporate materials not easily available to the English speaking reader and scholar and include interpolated information concerning historical and cultural events which affected Faure's life. The historical style analysis was undertaken to document ways in which the musical style of the nine chamber works seemed to evidence influences of cultural, educational, and historical forces which acted upon Faure's life and work. The biographical study pointed to certain specific forces which seemed to affect the style of the nine works: the attitude of nineteenth-century musicians towards the sonata as an influence on Faure's decision to use the sonata plan for the nine works and sonata-form for the preponderance of single movements; and the education Faure received at the Niedermeyer School--incorporating a study of Renaissance music and a unique method of plainchant accompaniment, and leading to Faure's long employment as a church musician--which affected his compositional choices, as seen in his melodic and harmonic syntax, which feeely mingles tonal and modal systems. Three style characteristics arising from this amalgam of systems were documented: major mode conclusions of final movements, which suggested Faure's hierarchical use of the major mode as his fundamental and conclusive mode; harmonic assertion of tonality--represented by cadential affirmation of tonality at first period closes and at the point of recapitulation entrances--which showed Faure's use of classical harmonic practice; melodic assertion of tonality, which suggested that Faure's melodic structures may independently affirm a tonality, as melodic formulas or patterns define a plainchant mode. Three rhythmic style characteristics not evidencing influences from a specific source have been included to complete the study.

This thesis explores stylistic features in two novels by Joseph Conrad--The Nigger of the "Narcissus" published in 1897 and The Rover published in 1923. The main focus of the discussion of these novels is the way in which form and meaning are integrated, that is, how style creates and affects theme and subject. In particular, the various literary devices that create style--the individual word, the sentence, and larger elements such as metaphoric and metonymic patterns—are dealt with. These elements are considered under three headings: dialogue, narrative, and imagery. The mimetic character of dialogue, its integration into a text, the various types of dialogue such as reported speech and direct discourse, and variations of dialogue such as interior monologue and free indirect style are discussed in relation to theme. Secondly, narrative, the larger frame into which dialogue fits, is treated at length, with narrative method, the characteristics of narrative prose in both novels, and the effects produced by Conrad's attention to rhythm and vocabulary forming the central concerns of this section. Lastly, metaphor and simile are discussed as stylistic elements not confined to individual sentences or passages but extending over an entire work, and as the means by which visual and auditory impressions are conveyed to the reader. The traditional types of simile and metaphor, "as if" and "as though" clauses functioning as similes, and metonymic images are analyzed with the intention of demonstrating the relationship between technique and vision. / Arts, Faculty of / English, Department of / Graduate

This dissertation takes as its premise the belief that privileging the text of a play as the site of meaning is inadequate, given the social nature of theatre. This privileging is evident in the low critical opinion of dramatic adaptations of prose works: the dramatic text, incomplete by nature, cannot compete with the self-sufficient narrative text which it adapts. Rather, as described in the introductory chapter, the socio-historical context of a production must be investigated to flesh out the meaning of the text. Four theatrical adaptations of Franz Kafka's novel Der Prozefi (1925) illustrate a history not only of Kafka reception, but also of society, politics and theatrical practice in Europe and North America. The first adaptation, Le Proces (1947), by Jean-Louis Barrault and Andre Gide, is interpreted in the second chapter in the context of post-Occupation tensions in France, including a sense of guilt left by collaboration. Against an intellectual backdrop of existentialism and absurdism, Le Proces renders Joseph K. as a Jewish victim of unjust authorities. The third chapter describes actor/playwright Steven Berkoff’s antipathy to the middle-class conformism of 1970s Britain, which turns his adaptation, The Trial (1973), into a highly personal protest in which K. is destroyed by bourgeois "mediocrity." Peter Weiss's German adaptation, Der Prozefi (1975), treated in the fourth chapter, attempts more sweeping Marxist social criticism, depicting Kafka's world as a historically specific Eastern Europe in the days leading up to the Great War: K. is a bank employee who, by refusing to ally himself with the workers, seals his own fate under exploitative capitalism. Finally, Sally Clark's Canadian The Trial of Judith K. (1989) is described in the fifth chapter as a cross-gender revision of the novel reflecting both a feminist critique of male oppression and the freedom of interpretation of canonical works enabled by North America's relative intellectual isolation from the canon's European roots. K., as a victim of patriarchy, is a woman. The diversity of these four adaptations pleads for the acceptance of dramatic adaptation as a creative form of interpretation, rather than as an ill-advised misappropriation, of its source. / Graduate and Postdoctoral Studies / Graduate

This thesis focuses on Conrad's representation of space and atmosphere in the "impressionistic" works published between 1897 and 1904, notably The Nigger of the "Narcissus" (1897), "Heart of Darkness" (1899), Lord Jim (1900), and Nostromo (1904). The many conflicting statements regarding the nature of Conrad's impressionism lead one to ask two fundamental questions: What constitutes this strange and elusive phenomenon, and how does it bear upon interpretation? This thesis works towards defining the elusive quality of Conrad's writing by investigating and assessing the contribution of impressionist techniques in the creation of a pervasive space and atmosphere; secondly, it considers how the various constituent elements interact with, and complement one another to form a dominant mode of fictional space in each work; and, thirdly, it indicates the possible impact that these particular Conradian configurations of space and atmosphere might have upon the interpretation of his impressionist works. The thesis argues that the existential condition of isolatio~experienced by Conrad's heroes and narrators is a consequence of epistemological frustration and fragmentation, which, in turn, is a function of impressionist ontology. There is a definite and complementary relationship between each of these notions in Conrad's fiction. The mysterious atmosphere in his works results from the interplay between various configurations of theme, narration and description, and these novelistic elements correspond roughly with the notions of existential isolation (the dominant theme), epistemology (narrating, telling and (re)telling as a method of knowing and understanding the space in which the characters find themselves) and, lastly, the ontological dimensions of the various modes of fictional space (as realized in description). The evocation and invocation of cosmic space in The Nigger of the "Narcissus," the mapping of a dorriinant symbolic space in "Heart of Darkness," the (re)constructions of Jim's psychological space in Lord Jim, and, finally, the "transcription" and "inscription" of a mythical space in Nostromo, indicate a definite development from epistemological to ontological issues. Phrased in more theoretical terms, this development is a movement from asking predominantly epistemological questions like "How can I interpret this world of which I am a part?" "What is there to be known?" "Who knows it ... and with what degree of certainty?", to asking predominantly ontological questions, such as "Which world is this?" "What kinds of worlds are there ... and how are they constituted?". Such questions, categorized by McHale as the dominant characteristics of Modernist and Postmodernist fiction respectively, are already present in Conrad's texts, thus undermining any clear-cut division between these broad categories. Indeed, this thesis suggests that these categories are at best tenuous, and that they should perhaps be used heuristically, rather than definitively