My thesis aims to analyse German written periodicals published in Karlovy Vary region, which were discontinued in 1938 and 1945. This paper analyses last issues of Volkswille and Karlsbader Tageszeitung (earlier known as Deutsche Tageszeitung), published in last week of their existence and Elbogener Zeitung in its last month of publishing. My goal is to establish not only changes in contents and editorial staff, but also to find out whether it was clearly stated that these papers will cease to exist or it was only indirectly hinted. I also focus on further lives of employees of mentioned periodicals and publishing houses after their work ended. Introductory part concerns itself with important historical events mainly of 1930s and 1940s that influenced both the living conditions in Karlovy Vary region and activities of regional media. Equally important is also coexistence of Czechs and Germans in our region, developing since 12th century. Given the subject of my thesis special emphasis is given to the Czech-German relations in vicinity of Karlovy Vary from 1930s till the end of World War II.

M.Tech. (Fashion) / This study is an investigation of Japanese designers, Issey Miyake, Yohji Yamamoto and Rei Kawakubo, who are widely regarded as leading innovators in the fashion world (Kawamura 2004:36; Niessen 2003:216; Sudilc 1990:84). Collectively they have been described as avant-garde designers (Sudjic 1990:13; Breward and Gilbert 2006:58), creators of the Japanese fashion revolution in Paris (Kawamura 2005:96), and exponents of anti-fashion design (Kondo 1997:118). These designers defied the prevailing fashion norms and produced clothes referred to as "wearable art" through the use of advanced technology (Leventon 2005:25). While there are volumes of articles crediting them as revolutionary designers over the years, there is limited literature material that clearly articulates what these designers did differently. Various scholars have tried to uncover what it was that Japanese designers brought to international fashion (Koren 1984; Koda 1987; Coleridge 1989; Evans and Thornton 1989), yet none have been conclusive enough to provide the "recipe for success" that Miyake, Kawakubo and Yamamoto have achieved…

El presente trabajo tiene como objetivo principal alcanzar una aproximación al concepto de "mundo de la vida" a partir del análisis de sus principales significados, tal como ellos se exponen fundalmentamente en la. parte IIIA de la obra de Edmund Husserl, La Crisis de las ciencias europeas y la fenomenología trascendental. Una introducción a filosofía fenomenológica - (1936) / Tesis

Al ser publicado en 1922, el poemario Trilce resulta siendo un fenómeno vanguardista demasiado desproporcionado para toda la vanguardia por entonces existente en el Perú; un fenómeno demasiado desproporcionado también para la poca o ninguna vanguardia conocida por Vallejo (como después veremos, en el mejor de los casos, el poeta peruano tenía un conocimiento muy precario de estos movimientos artísticos). Entonces, ¿cómo Vallejo consigue en Trilce ser tan vanguardista si conocía poca o ninguna vanguardia y si en el Perú de 1922 la vanguardia existente era muy escasa? Nuestra tesis responde a esta pregunta proponiendo lo siguiente: Vallejo sintoniza en Trilce con las vanguardias (no por tópicos sino por sensibilidad) porque tenía bien interiorizada una creatividad concebida como libérrima. Sin embargo, debemos hacer una aclaración: en Vallejo, tal concepción de la creatividad no es un simple propuesta estética o una simple definición o idea; más bien, es parte de su estructura mental; de su matriz mental; de su forma mentis… Vallejo era un hombre de muchas contradicciones en lo político, en lo religioso, en lo existencial y en lo artístico. Por ende, en medio de tanta contradicción, si algo permanente existe debe buscarse no en sus ideas (acaso muy volubles y contradictorias a lo largo de la vida del vate liberteño); debe buscarse más bien en la matriz mental donde anidaban tales ideas… / Tesis

Esta tesis explora el poco estudiado libro Cuentos Fatales de Leopoldo Lugones, enfocándose en el eterno retorno de lo mismo en relación a las posibilidades de lo fantástico. Si bien el autor es frecuentemente recordado no por su escritura sino por su oscura historia y linaje, esto no desluce su trabajo, que debe ser apreciado por su valor. Se plantea repensar los cuentos para entender que el hecho de que la colección obedezca a ideas de la construcción del cuento fantástico clásico del siglo XIX no es un retroceso, como cierta crítica ha pretendido enmarcarlo, sino una exploración de las posibilidades de lo fantástico. Esto se logra mediante una repetición de temas, ideas y personajes, descolocados de su contexto original, haciendo evidente la repetición que ya se evidencia en las estructuras narrativas de los cuentos, las cuales son casi idénticas. Después de plantear el contexto y marco teórico, se demostrará esto esquematizando las estructuras de los relatos y, posteriormente, analizando cada uno de manera independiente, resaltando los elementos iterados que pertenecen a sendas tradiciones. De este modo, se demostrará que los espejos empleados por Lugones sirven como herramienta para reflexionar acerca de la combinatoria de posibilidades de lo fantástico. / Tesis

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-11-07T16:27:19Z No. of bitstreams: 1 Jussara Tânia Silva Moreira.pdf: 4945892 bytes, checksum: 99c02a2219f50531af75f4e22806cf04 (MD5) / Made available in DSpace on 2016-11-07T16:27:19Z (GMT). No. of bitstreams: 1 Jussara Tânia Silva Moreira.pdf: 4945892 bytes, checksum: 99c02a2219f50531af75f4e22806cf04 (MD5) Previous issue date: 2016-09-14 / This work aims to analyze, between the years 1938-2013, the origin of Baptists in the constitution of Itapetinga’s urban development, and understand how the city’s process of religious stabilization happened. The period that circumscribes the research is from 1938 to 2013 in order to delimit the celebration of the Diamond Jubilee of the First Baptist Church of Itapetinga (PIBI), whose existence predates the birth of the city itself. To this end, it was necessary to enter in a peculiar way: the social and historical constitution of the city of Itapetinga, which is located in southwest Bahia, setting that served for the preparation of the following hypothesis: the religious field the city of Itapetinga was only possible for the Baptists, because it was built with close connection to the power of cattle breeder farmer, dominant in the itapetinguense society. By having as axis the concept of "power domination and religion", the research primarily draws upon the theories of Max Weber and Pierre Bourdieu, but due to the complexity of the approach, there was also the need for appreciation of other sociological, historical and theological analysis. Along the way, it was adopted as methodological procedures: the memories, interviews, statistics and documentary analysis. Thus, the results of the investigation were assessed by qualitative research, having as support for the interpretations oral and written sources / Este trabalho tem como objetivo, analisar, entre os anos de 1938 a 2013, a origem dos batistas na constituição do desenvolvimento urbano de Itapetinga e compreender, como ocorreu esse processo de estabilização religiosa na cidade. O recorte temporal que circunscreve a pesquisa recaiu no período de 1938 a 2013, tendo em vista delimitar a comemoração do jubileu de diamante da Primeira Igreja Batista de Itapetinga (PIBI), cuja existência antecede ao nascimento da própria cidade. Para tal fim, foi necessário entrar por um caminho peculiar: a constituição social e histórica da cidade de Itapetinga, que fica localizada na Região Sudoeste da Bahia, cenário este, que serviu para a elaboração da seguinte hipótese: o campo religioso da cidade de Itapetinga só foi possível aos batistas, porque foi construído com estreita ligação com o poder dos fazendeiros, dominantes na sociedade itapetinguense. Por ter como eixo os conceitos de “poder dominação e religião”, a pesquisa respalda-se, prioritariamente nas teorias de: Max Weber e Pierre Bourdieu, mas, devido à complexidade da abordagem, houve também, a necessidade da apreciação de outras análises sociológicas, históricas e teológicas. Nesse percurso, adotou-se como procedimentos metodológicos: as memórias, as entrevistas, as análises estatísticas e documentais. Dessa maneira, os resultados da investigação foram apreciados através da pesquisa qualitativa, tendo o suporte para as interpretações as fontes orais e as fontes escritas

Esta tese tem por objetivo analisar a trajetória política do Partido de Reedificação da Ordem Nacional (Prona), organização liderada por Enéas Ferreira Carneiro. Fundado em 1989 e existente até 2006, o Prona representou uma alternativa de direita radical à ordem democrática brasileira, agregando diversos estratos do conservadorismo e autoritarismo político brasileiro após o fim do regime militar. Dessa maneira, a pesquisa se estrutura em dois eixos fundamentais e complementares. Em primeiro lugar, busca analisar a diversidade constituída pela própria agremiação, isto é, quais os caminhos percorridos por uma pequena legenda partidária que buscava eleger seu líder como Presidente da República. Além disso, a pesquisa objetivou analisar também a circularidade de ideias que permearam o partido político em questão, sobretudo no âmbito das cooperações da direita radical brasileira, seu preceitos e valores conservadores e autoritários. Dessa maneira, busca compreender não apenas a trajetória da própria agremiação, mas também suas relações em amplitude nacional e internacional. / This thesis aims to analyze the political trajectory of the Reedification of National Order Party (PRONA), an organization led by Eneas Ferreira Carneiro. Founded in 1989 and existed until 2006, PRONA represented a radical right alternative to the Brazilian democratic order, adding several layers of Brazilian political conservatism and authoritariansm after the end of Military dictatorship. Thus, the research is divided into two core and complementary lines. First, is to analyze the diversity constituted by the Party, that is, which paths were taken by a small party label that sought to elect their leader as President. In addition, the research also aimed at analyzing the circularity of ideas that permeated the political party in question, particularly in the context of cooperation of the Brazilian radical right and its precepts and conservative and authoritarian values. In this way, seeks to analyze not only the trajectory of their own party, but also their relationships on a national and international scale.

My doctoral dissertation examines the relationship between the sacred and literature, explores how the Bible has influenced the literary production of Antonia Pozzi, Cristina Campo, and Margherita Guidacci, and reveals that each author had a distinctive way of dealing with the Sacred Book. In the first chapter I retrace the studies on the topic of Bible and Literature, and I show how literary critics only recently have begun to work intensively on them (in the past the "historical school" founded by De Sanctis and followed by Croce devoted few studies to the subject of the sacred and even so, only to those periods where the influence of the Scriptures was clear and indeed obvious, such as the Middle Ages and the Counter-Reformation). In the same chapter I explain my reason for deciding to study Pozzi, Campo, and Guidacci. These three authors share analogous biographical experiences and episodes that deeply influenced their lives (the presence of an authoritarian father, family losses, and sad love experiences). Moreover, their studies (specifically, European writers and philosophers) were of the same nature. I demonstrate that, although contemporary Italian literature is heterogeneous and varied, these three women astonishingly shared the same background that explains their concentration on the sacred. In the following chapter I consider the writers individually, in order to examine the path that led them to a dialogue with the religious and the sacred. In Pozzi, the sacred is something that lies beyond human understanding and, for all her attempts to reach it, she always fails due to her incapacity to fully free helself from human passions. In Campo and in Guidacci on the other hand, the sacred search is always consistent and, notwithstanding some missteps and second thoughts, they are able to basically fulfill their task. After the study of their ideas, in the last chapter I move to the poetical language used by these writers. It has been very interesting to see what is essentially the same vocabulary appearing again and again in our poets. As it is known, the biblical language is based on symbols that evoke a union between the contingent and the Absolute. Pozzi, Campo, and Guidacci were not only able to interpret the biblical symbology but they also used some of those terms in their poems; specifically I focused my attention on the recurrence of five words-symbols: assenza, deserto, nulla, fiore, luce (absence, desert, emptiness, flower, light). It is really significant that the writers in question use the same biblical symbols as poetical words: it is a vocabulary that ties together literary and religious experience. Their connection is also strengthened by the reference and the predilection for same specific books of the Bible, such as Job and The Lamentations of Jeremiah the Prophet for Pozzi, and the Gospels, Psalms, and The Song of Songs for Campo and Guidacci. In my analysis I show that already in the desert we can see the first signs of Pozzi's weakness: In this solitary place, where the soul must deal with herself to reach the emptying of earthly passions, Pozzi got lost and fell into the error of looking backwards, to the beloved she had left. On the other hand, Campo and Guidacci were able to reach the spiritual light, so their journey through biblical symbolism can be finally considered complete. In other words, Pozzi's path towards the Scripture is fulfilled piecemeal and never ends in it, while in Campo and Guidacci the Scripture becomes an integral part of their lives, so they are constantly enlightened by the Word of God, while Pozzi misses this Light and sinks into the darkness of death. Finally, considering the fact that they have been relatively isolated from the literary world until recently, I do not believe they were rejected by a misogynist society, but rather by the fact that those years were demanding an active social participation. The women treated here never made that choice, instead they dedicated themselves to the search for the sacred, an issue not "present" in the years in which they lived. So I think that it was this combination of poetic themes and lifestyle choices that excluded them. In conclusion my work, which could have considered many other poets, confirms the point of view from which I started: the theme of the sacred in the twentieth century literature does not seem to present itself as a school or current, but is characterized by its inevitable uniqueness so that each poetic experience is described for its extraordinary authenticity and uniqueness. If anything, we can talk about similarities and links between these poets based on common readings that provide the basis on which to develop their own religious experiences.

“Flesh Made Word” examines two seemingly incongruous Russian modernist writers to illuminate one remarkable species of aesthetic response to the violent pressures of Marxist ideology, especially as those pressures are manifest as sociolinguistic phenomena and practice. The unexpected pairing of Osip Mandel’shtam and Vladimir Nabokov is motivated by their shared debt to Henri Bergson’s materialist theories of embodied selfhood and subjectivity, language, and the metaphysics of art. Poetry, both writers insist, as it operates according to a non-linear logic of ever-open and expanding associations of sound and image, offers the only authentic grammar for a multifarious self that knows not the constructions of time, causality, and finality. This mode of self-expression, at once intimate and cryptic, clashes with the Marxist state’s effort to make the subject uniform and transparent—to “sentence” him to his prescribed collective identity in the bondage of speech, prose, and narrative, whose didactic agenda and linear momentum are encrypted with Marxism’s world-historical teleology. Mandel’shtam’s and Nabokov’s own texts, the study argues, operate primarily by poetic principles, and their literary practice in turn creatively anticipates theories of Bergson’s postmodernist heirs (Foucault, Barthes, Derrida), particularly as they draw bold political implications from Bergson’s theories to analyze the relationship of language, writing, and power. Barthes, for instance, claims that the “poetic” text—composed of a personal image-system, not a “structure of signifieds”—places the artist “outside the pact that binds the writer to society.” In exploring this conflict between manners of expression, the study offers innovative, cohesive readings of the writers’ most enigmatic and elusive works of poetic prose—Mandel’shtam’s The Egyptian Stamp and Nabokov’s Invitation to a Beheading. More specifically, it examines the ways the conflict is manifest on the bodies of the narrator-protagonists. These figures are effectively twice composed: once by the mortifying narration of the State, again as they are the subjects of their own revitalizing self-writing. The texts that the protagonists produce of themselves are figured as their very flesh transubstantiated, and as nothing other than the poetic works that we are reading. These metaphysical dimensions of the fiction make forceful statements about the power of the artistic act, and especially its potential to reclaim and restore the self in a gesture of political defiance. By establishing a distinct set of images, themes, and techniques shared by the authors, along with a conceptual framework in which to discuss them, this dissertation responds to a scholarly need, until now not substantively articulated, to place Mandel’shtam’s and Nabokov’s creative projects into dialogue. As much as it invites a parallel gaze, however, the study equally contributes daring new chapters to each author’s existing body of scholarship and opens fields of inquiry that demand continued critical attention.

Thesis is concerned about theatrical and dramatic genres. It tries to seek for ways how choice of genre can influence the staging thematization. It provides brief outlook trough history of this problemacy, but it also explores contemporary trends. Than it especially concerns about options of stylish approach from the point of director. These informations are compared with experience gained trough staging of Ödön von Horváth´s play Povídky z vídeňského lesa and also other stagings. Author also seeks for genre specifics of Horváth´s work, especially in relationship with epoque of Viennese popular theatre.