The study of Masculinity is a fairly new phenomenon which developed as a refinement of gender studies. The theoretical frameworks on masculinity are still under development and are often severely contested. This study proposes to examine the dynamics of masculinity studies, critiquing the notion of ‘masculinity in crisis’. The premise of the masculinity in crisis debate is that men are experiencing an increasing sense of powerlessness. This dissertation aims to examine the masculine identities represented in Disgrace and to test whether they are better understood through the lens of masculine theory. The disgraceful situation of David Lurie is arguably not merely a result of hapless circumstance, but rather illustrates significant parallels with the crisis debate. The basic premise of this debate is that the behaviour previously condoned and applauded as healthy 'manliness' is now being labelled as anti-social and destructive. It is not just masculine roles that are under threat. Other forces behind the crisis are “the loss of masculine rights and changes in the pattern of employment” (Beynon 2002:75). One view held by theorists of masculinity studies is that for real change to occur, a fluid definition of masculine identity is needed. In J.M. Coetzee’s Disgrace (1999), the main protagonist is David Lurie. He may arguably be said to typify a masculinity that is in a state of crisis because of his stoic refusal throughout the novel to change or reform: “I was offered a compromise, which I would not accept”, he says, and: “Re-education. Reformation of the character. The code word was counselling” (1999:66). His aversion to such counselling and refusal to compromise mark his resistance to change.

My dissertation examines the role played by the surrealist object in the avant-garde strategies of the French surrealist group, in the difficult political circumstances of the 1930s. In my reading, the surrealist object is located in a critical relation to modern art; it depends on the invention of collage for its own realization, but it also attempts to supersede modernism through an act of desublimation, the return of art to its sexual origins. A n understanding of this critical relation is established through Peter Burger's Theory of the Avant-Garde, through the use of psychoanalytic theory, and through an understanding of the difference between Kantian and Hegelian aesthetics. The object's invention in 1931 is then related to the cultural debates occurring on the revolutionary left in France and the Soviet Union. The surrealists wish to achieve an alliance with the Parti Communiste Francais, but avoid the politicization of the cultural field undertaken by the Communists in both countries. They answer the demand for the politicization of art with the supersession of art, for which the object provides a model. In the 1930s, the surrealists develop the notion of a revolutionary science that would forge a relation between action and interpretation. They attempt to indicate such a relation in a number of experimental texts, taking unconscious thought as the object of their investigation. As a central category of their reflection in this period, the surrealist objects are often given as extra-aesthetic examples of such thought in physical form. The rise of the Popular Front and the move of the P.C.F. towards a reformist politics presented a crisis for the surrealist movement. A number of surrealists, like Tristan Tzara, Rene Char and Roger Caillois, split with their group in order to work with the Popular Front, while the larger part of the surrealist group broke with the P.C.F. and the Soviet Union. The break with Stalinism led the surrealists to the point of an alliance with the modern art they had once claimed to supersede; from now on, interpretation would be preserved, at the expense of action. The surrealist object, which had exemplified the relation between action and interpretation, begins to recede from view after 1936, as the avant-garde project that had brought it into being became increasingly difficult to sustain. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Orientador: Jeanne Marie Gagnebin / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-03T16:16:46Z (GMT). No. of bitstreams: 1 Damiao_CarlaMilani_D.pdf: 721987 bytes, checksum: 1b53eb3d5a03f5a4ebf062f5f3ddc863 (MD5) Previous issue date: 2003 / Resumo: O tema dessa tese participa da fronteira entre filosofia e literatura, concentrando-se no debate sobre a questão da subjetividade e da narrativa autobiográfica. Dentro desse tema, investigamos um projeto de Walter Benjamin, cuja intenção seria a de comparar as Confessions de Jean-Jacques Rousseau com o Journal de André Gide. Dessa comparação deveria surgir uma crítica histórica que apontasse para o declínio da sinceridade como a marca de um caráter social. Da investigação desse projeto ampliamos a discussão para a relação entre filosofia e narrativa autobiográfica, ressaltando os seguintes aspectos: a constituição da subjetividade e da identidade narrativa; o problema da verdade ou sinceridade do relato; a questão da memória. As diferentes interpretações, quase sempre conflitantes, colaboram na fundamentação do projeto anunciado por Benjamin e nos conduz a outros exemplos de narrativas autobiográficas na filosofia. O Ecce Homo de Nietzsche e a Berliner Kindheit de Benjamin, associadas à recherche proustiana, são obras que se relacionam entre si quanto à concepção de identidade narrativa como medium, do qual emerge uma compreensão diferente de subjetividade / abstract: The theme of this thesis lies somewhere in the borderland shared by philosophy and literature, and concentrates on the debate over the question of the self and autobiographical writing. Within this theme we have investigated a Walter Benjamin project in which he sought to compare the Confessions of Jean-Jacques Rousseau with the Journal of André Gide. As a result of this comparision, there should emerge a historical critique that would indicate a decline in sincerity as a sign of social character. From the investigation of Benjamin¿s project we broadened the discussion concerning the relationship between philosophy and autobiographical writing, highlighting the following aspects: the constitution of the self and the narrative identity; the matter of truth and sincerity in the narrative; the question of memory. The different, often conflicting, interpretations enable us to anchor the investigation of Benjamin¿s project and lead us to other examples of autobiographical writing in philosophy. Nietzsche¿s Ecce Homo and Benjamin¿s Berliner Kindheit, related to the Proustian Recherche, are linked to each other wherever identity is conceived in the narrative as a medium from which a different understanding of self emerges / Doutorado / Doutor em Filosofia

Orientador: Rubem de Azevedo Alves / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-20T16:36:07Z (GMT). No. of bitstreams: 1 Barbosa_SeverinoAntonioM.(SeverinoAntonioMoreira)_D.pdf: 12732924 bytes, checksum: 7e9b10b1cd4f94c63de72ff0a40f9c5b (MD5) Previous issue date: 1995 / Doutorado

Orientador: Maria Stella M. Bresciani / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-13T22:58:34Z (GMT). No. of bitstreams: 1 Carpintero_MarisaVarandaTeixeira_M.pdf: 14853060 bytes, checksum: 3b849628e6f0f9c68354afcb4bffde51 (MD5) Previous issue date: 1990 / Resumo: Não informado / Abstract: Not informed. / Mestrado / Mestre em História

James Sellars has established himself as one of America's foremost composers whose eclectic style reveals a wealth of influences. His artistic combination of various traditional and avant-garde techniques, along with his sensitive and expert craftsmanship has earned him an important position in contemporary American music. Sellars' compositional styles have encompassed neo-Romanticism, in his early days, through post-serialism and Dada to an eclectic, post-Romantic style utilizing popular elements including electro-acoustic techniques. His extensive catalog of over 150 compositions includes works for orchestra, opera, chorus, dance, chamber, voices with ensemble, solo voice, piano, instrumental solos, band, and media. Sellars' compositions for piano solo span a 38-year period and total 17 works, the most important of which are his six one-movement sonatas, which represent, according to Sellars, "a journey from modernism to post-modernism." Their value lies in their eclectic stylistic approaches, artistic nd technical challenges, and pianistic effectiveness. The first three sonatas, incorporating post-serial elements, fall into a modernist stylistic stance while numbers four through six, in postmodern style, contrast one another drastically. Sonata Brasileira, recalls the broad sweeping gestures of the Romantic period; Sonata V reveals the influence of the absurdist Dada movement; and the last sonata Patterns on a Field, blends minimalism with elements of rock music. These sonatas represent Sellars' significant contribution to the genre of the piano sonata and deserve a position among other important American piano sonatas of the twentieth century. Despite Sellars' numerous successes and highly active performance schedule, no study or research has focused on the composer or any of his works. Taken as a whole, the six sonatas represent an important yet relatively unknown body of twentieth century solo piano literature, which justifiably merit further study and performance. The aim of this dissertation is to provide an introduction to the composer and present a study of the sonatas through an analysis focusing on the aspects of form, rhythm, texture, and style.

本論文采用詮釋 -- 對話的方法，深入比較了侯活士和趙紫宸品格（人格）倫理。旨在期望該方法能夠較準確全面地展現他們各自倫理思想之獨特性，以及促進與豐富中西方學界在該理論上之交流。 基於此，本論文首先批判性地分析與詮釋了二者的相關文本，以此揭示他們重要的神學倫理語境、前設與內容；再者，在文本詮釋之基礎上比較了二者概念與內容上之重要的相似點不同處；其次，找出在實踐 了二者概念與內容上之重要的相似點不同處；其次，找出了二者在實踐中嘗試處理的道德議題 -- 戰爭與和平，並從他們各自的立場出發相互詢問道德實踐之目的、原則和意義，從而進行跨文化溝通對話；最後筆者得出如下結論： 侯活士與趙紫宸的品格（人格）倫理具有高度相似性與差異性，或者有交疊與相異之處。儘管其倫理確是基於不同文化背景產生的兩種理論，具有不同的概念體系與社會背景，具有不同的概念體系與社會背景，具有不同的概念體系與社會背景， 而這塑造了他們各自處理道德問題的視角差異性 。但是，總體上他們始終以“如何成為聖潔和平的群體 ”發展相關理論， 以及他們不斷在回應 “信徒應該如何處理戰爭與和平 ”之實踐問題。不僅如此，侯活士的品格倫理在論上更系統與完善，它能夠為趙紫宸人格理論之重構提供參考與借鑒。較之，趙紫宸的人格倫理在實踐上更具體與切實，它能夠為侯活士的倫理實踐反省給予啟迪。 關鍵詞：品格、人格、比較、詮釋、對話

För att förstå dagens förskola och rådande barnsyn behöver vi förstå vår historia. Syftet med denna studie är att undersöka ledarinnors föreställningar om barn och barndom genom att studera observationsprotokoll från 1940-talets barnträdgårdar, där ledarinnor under flera år har följt 28 barns utveckling. Med stöd av kritisk diskursanalys (CDA) har jag undersökt hur ledarinnornas språk konstruerar barnens identitet - inom CDA benämnt som ’etos’. Resultatet tyder på att ledarinnorna hade en mångfacetterad och tillåtande barnsyn med en verksamhet präglad av glädje och värme. Resultatet visar att flickorna och pojkarna på många sätt beskrevs i liknande ordalag, såsom glada och duktiga men att skillnader förekom mellan könen. Flickorna beskrevs oftare som hjälpsamma och lugna medan pojkarna beskrevs med mer varierade ord.  Pojkarna fick även mer plats i form av att ledarinnorna skrev längre anteckningar om dem än om flickorna. Studien har gett värdefull ny information inom ett negligerat forskningsfält, men ytterligare empiri behövs för att se tydligare mönster.

När man syr efter mönster står det ofta angivet vilken typ av tyg som bör användas. Är man oerfaren i sömnad kan det vara svårt att veta varför just dessa tyger rekommenderas. Syr man i ett annat tyg än vad som föreslås av mönstertillverkaren kan det krävas mönsterändringar och anpassningar av sömnadsprocessen. I den här undersökningen används ett symönster från 1949 med mycket kortfattade instruktioner och utan förslag på tyg, där den vägledning som ges i val av tyg är bilden på mönstrets framsida. Det är upp till den som ska sy att välja tyg, metoder och tekniker. Hur vet man vad man ska välja om man saknar erfarenhet? Hur vet man vad som fungerar, och vad som inte gör det? Och vad måste man göra annorlunda om man tar ett annat tyg än det som är tänkt? Undersökningens syfte är att undersöka hur ett mönster kan behöva ändras vid byte av tyg för att behålla den ursprungliga silhuetten, samt hur sömnadsprocessen förändras med tygbytet. De centrala frågorna är: Hur kan ett symönster förändras för att behålla silhuetten när man går ifrån det tänkta tyget? och hur förändras sömnadsprocessen av ett plagg när det sys i olika tyger? Undersökningen har genomförts som en jämförande analys där fyra plagg i olika tyger har sytts upp, där plagg 1 representerar det tänkta tyget och silhuetten. Resultatet visar att man med hjälp av olika mönsterändringar kan bibehålla silhuetten av ett plagg i viss mån även när man använder ett tyg som inte är tänkt att användas med mönstret.

Submitted to the Faculty of Arts in fulfillment of the requirements of the Honours Degree in the Department of African Languages at the University of Zululand, South Africa, 1997. / Lolu cwaningo luhlose ukukhanyisa ukuthi ubunkondlo butholakala kanjani enkondlweni. Luzophawula ngezinyathelo ezithathwa umhluzi uma ehluza inkondlo. Lolu cwaningo luzobheka nokubumbeka kwengaphandle lalezi zinkondlo ezilandelayo : Inhlekelele YaseCoalbrook, Sithi Halala, Kuyona Ie ngabadi. Luhlose ukuveza izinto ezithatha amehlo abafundi. Igama elithi izinto liqondise ezigabeni ezakha inkondlo. Uma uzibheka zibunjwe ngezindlela ezahlukene. Libuye liqondise emigqeni eyakhe inkondlo. Le migqa yakhiwe ngenani elahlukene lamagama. Uma weqisa amehlo esakhiweni salezi zinkondlo, uthola ukuthi izinhlamvu ezakhe amagama nazo zehlukene ngamanani. Ekujuliseni amehlo uyakubona ukuvumelana nokuxhumana komsebenzi wale mbongi.