Esta pesquisa teórica investiga o desenvolvimento da noção de couraça nos primeiros quinze anos da obra de Wilhelm Reich, de 1920 até 1935. Como objetivo central, buscamos responder a seguinte questão norteadora: qual(ais) o(s) sentido(s) de couraça no pensamento de Wilhelm Reich? Visamos, sobretudo, contribuir para o esclarecimento e a discussão dessa importante noção do pensamento reichiano. Em termos de método, a fim de acompanhar o percurso do pensamento do autor, abordamos a obra de acordo com sequência cronológica de publicação. Com essa orientação histórica, elencamos e analisamos textos que, a nosso ver, fornecem subsídios para a compreensão da noção em tela. Além disso, ficamos atentos a prováveis sinônimos e sentidos utilizados, mesmo que o termo propriamente dito não estivesse explicitamente citado. Como preparação do terreno, realizamos uma pesquisa etimológica sobre o termo couraça. Em seguida, elencamos dois autores - o filósofo francês Henri Bergson e o fundador da psicanálise Sigmund Freud - investigados devido à importância dos mesmos na construção do pensamento reichiano como um todo e, possivelmente também, em relação à noção de couraça. Em termos de resultados, os escritos de Reich analisados indicaram que as significações de couraça como defesa, proteção e resistência estão sempre presentes. Dentre os artigos acessados, localizamos a primeira aparição do vocábulo em 1922, como couraça narcísica. Constatamos que, para Reich, a couraça mantém contato com as realidades interna e externa, articula as noções de economia pulsional, ego e caráter, além de estar relacionada à operação do recalque. A princípio, é concebida na esfera psíquica, mas, gradativamente, passa a ser considerada, também, no âmbito somático, principalmente como hipertonia muscular crônica. Ainda, tecemos algumas relações com a visão de Bergson sobre o assunto e com a conceituação freudiana acerca do escudo protetor. Por fim, na esfera do tema saúde-doença, registramos algumas ponderações a respeito da relação entre a noção de couraça e o processo do desenvolvimento humano / This research examines the development of the notion of armor in the first fifteen years of Wilhelm Reich´s work, from 1920 until 1935. As the main goal, we aimed to answer the question: What is (are) the meaning(s) of the term armor in Wilhelm Reich´s thought? We had in view, above all, contribute to clear up and discuss this important notion in Reichian thought. In terms of method, in order to keep track of the author´s thinking route, we followed the chronological sequence of his publications. Based on this historical orientation, we focused and detailed the texts that, in our view, supplies subsidies for the comprehension about the notion of armor. Moreover, we drew our attention to the probable synonyms and meanings, even if the term was not cited. To begin, we researched the etymology of the term. Then, we listed two authors the French philosopher Henri Bergson and the founder of psychoanalysis Sigmund Freud investigated because of their importance on the construction of early Reich´s thought and, possibly, concerning the notion of armor. In terms of results, the analyzed Reich´s texts indicated that the significances of defense, protection and resistance are always present. Among the accessed articles, we localized the very first appearance of the word in 1922, as narcissistic armor. We verified that, to Reich, the armor keeps in contact with the inner e outer realities, articulates the notions of drive economy, ego and character, and has relations with the repression operation. In the beginning, it is conceived in the psychological sphere, but, gradually, it is considered in a somatic scope as well, especially as a chronic muscular hypertony. Yet, we wove some relations with Bergson´s view about the theme and with the freudians conception concerning the protective shield. Finally, under the health-disease angle, we pointed out some aspects and relations between the notion of armor and the human development process

L’écriture joycienne se distingue par la conscience aiguë dont elle témoigne de l’histoire des mots. Cette tendance est le produit de l’émergence de la grammaire comparée et de la sémantique historique au XIXe siècle, disciplines qui avaient bouleversé le concept d’étymologie et légitimé, en apparence, la prise en compte du passé de la langue dans son emploi. Pourtant, quand Joyce écrit, cette approche est irrémédiablement dépassée, et ses nombreuses contradictions critiquées. Aussi les œuvres de l’écrivain, loin de constituer un reflet fidèle et stable du discours sur l’étymologie du siècle où il naquit, en mettent-elles à nu les paradoxes et les partis pris. La stratégie d’écriture de Dubliners, si elle repose sur une exploitation fréquente des données mises au jour par les comparatistes et les sémanticiens, prend ainsi le contrepied de toute démarche transcendantale et tire profit de la nature subjective et aléatoire de l’activation des potentialités étymologiques des mots par le lecteur. La volonté affichée par Stephen dans A Portrait of the Artist as a Young Man de trouver une justesse supérieure dans la motivation directe puis indirecte des noms fait place, dans le roman suivant, à un rejet amer de « l’imposture des sons ». Mais Ulysses éclaire également les failles des théories linguistiques de son époque : sa mise en lumière du rôle joué par l’étymologie populaire dans le fonctionnement de la langue implique une critique du positivisme saussurien et s’inscrit dans une dénonciation plus large de toute conception pseudo-rationnelle et supra-individuelle de l’histoire. / One of the hallmarks of Joyce’s prose is the acute consciousness it reflects of the history of words. This tendency is the product of the emergence of comparative linguistics and historical semantics in the 19th century, both of which had revolutionized the concept of etymology and seemed to make the history of words relevant to their use. Yet that approach soon became irremediably outdated and its numerous contradictions had been subjected to severe criticism by the time Joyce wrote his books. Accordingly, his works, far from giving a faithful and stable image of the etymological discourse prevalent in the century of his birth, reflect its biases and contradictions. Although the writing strategy of Dubliners relies on a constant exploitation of the data unveiled by linguists, it opposes any transcendental philosophy and makes much of the subjective and random nature of the activation of words’ etymological potentialities by the reader. Stephen’s attempts at finding a superior meaning in the direct and then indirect motivation of names in A Portrait of the Artist as a Young Man evolves, in the next novel, into a bitter rejection of the “imposture of sounds”. Ulysses, however, also brings into relief the inconsistencies of the linguistic theories of its own time: in highlighting the role played by folk etymology in the use of language, it constitutes an implicit criticism of Saussure’s positivist claims and calls into question any pseudo-rational and supra-individual conception of history.

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This dissertation situates literary modernism in the context of a nascent form of globalization. Before it could be fully acknowledged global encroachment was, by virtue of its novelty, repeatedly experienced as a kind of shattering or disintegration. Through an examination of three modernist novels, I argue that a general modernist preoccupation with space both expresses and occludes anxieties over a globe which suddenly seemed to be too small and too undifferentiated. Building upon recent critical work that has begun to historicize modernist understandings of space, I address the as yet under-appreciated ways in which globalism and its discontents informed all of the locales that modernist fictions variously inhabited. For Joseph Conrad, James Joyce, and Virginia Woolf, the responses to global change were as diverse as the spaces through which they were inflected. / I begin by identifying a modernist predilection for spatial metaphors. This rhetorical touchstone has, from New Criticism onward, been so sedimented within critical responses to the era that modernism's interest in global space has itself frequently been diminished. In my readings of Conrad's Heart of Darkness, Joyce's Ulysses, and Woolf's To the Lighthouse, I argue that the signs of globalization are ubiquitous across modernism. As Conrad repeats and contests New Imperialist constructions of Africa as a vanishing space, that continent becomes the stage for his anxieties over a newly diminished globe. For Joyce, Dublin's conflicted status as both provincial capital and colonial metropolis makes that city the perfect site in which to worry over those recent world-wide developments. Finally, I argue that for Woolf, it is the domestic space which serves best to register and resist the ominous signs of global incursion. In conclusion, I suggest that modernism's anticipatory attention to globalization makes the putative break between that earlier era and postmodernity---itself often predicated upon spatial compression---all the more difficult to maintain.

QUEIROZ , Flávio de Araújo. Ney Matogrosso: sentimento contramão, transgressão e autonomia artística. 2009. 271f. Tese(Doutorado em Sociologia). Universidade Federal do Ceará, Departamento de Ciências Sociais, Programa de Pós-Graduação em Sociologia, Fortaleza-CE, 2009. / Submitted by GLAUBENILSON CAVALCANTE (glaubenilson@yahoo.com.br) on 2011-11-17T14:26:42Z No. of bitstreams: 1 QUEIROZ, FA..pdf: 3053163 bytes, checksum: ffccac5b3f6031c685d0b43f25d02ed0 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2011-11-23T13:47:05Z (GMT) No. of bitstreams: 1 QUEIROZ, FA..pdf: 3053163 bytes, checksum: ffccac5b3f6031c685d0b43f25d02ed0 (MD5) / Made available in DSpace on 2011-11-23T13:47:05Z (GMT). No. of bitstreams: 1 QUEIROZ, FA..pdf: 3053163 bytes, checksum: ffccac5b3f6031c685d0b43f25d02ed0 (MD5) Previous issue date: 2009 / The present work makes an analysis of the artistical career of the singer Ney Matogrosso, between 1975 and 1983, by trying to understand the development of his artistic autonomy process in such an adverse context as that of the military regime and its moral censure, the limiting record companies and media as well. In this perspective the transgressive body of the singer and also its social construction will be analyzed. The body language and behavior of the singer have broken away from all cultural references and values of machismo at the time. He has also broken the rules of social customs, and consequently he has been put in a liminar condition in relation to the establishment, in despite of belonging to a society rich in multiplicity of principles and behaviors / O presente trabalho aborda a trajetória artística do cantor Ney Matogrosso no período compreendido entre os anos de 1975 a 1983, dentro de uma perspectiva de entendimento da construção da autonomia artística do cantor em relação à censura moral do regime militar e ao cerceamento da indústria fonográfica e da mídia. Dessa maneira, observar-se-á a construção social do corpo transgressor do artista, que rompeu com um referente cultural do que naquele momento significava ser “macho” e com o eminentemente instituído; tendo, dentro de uma pluralidade de princípios e comportamentos, sido posto em uma condição de liminaridade artística frente aos poderes instituídos

Made available in DSpace on 2016-12-23T13:46:03Z (GMT). No. of bitstreams: 1 Iris Maria Negrini Ferreira.pdf: 3614523 bytes, checksum: e13584ed49c204d3d0134fcf8b7f1a66 (MD5) Previous issue date: 2012-10-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This Master s degree dissertation had as its object on the work ok carlo Vergara, with a focus on work done in 1960s: Happening G4, Berço Esplêndido, Brinquedo (Ojetos-módulos), Empilhamentos, in addition to works of the 1990s and 2000s, such Capela do Morumbi, Farmácia Baldia and Feira de Adivinhações. From these works, was discussed how the artist turned his production beyond the pictorial medium at different times in his career, who presided over the thrust axis of its operations in the Brazilian avant-garde, from the pure visual experience by the public, or even constituted by his participation. There was thus a reflection on the character expanded in the artist s work since the beginning of his career, in the 1960s to the present of his creative process. It was intended, therefore, to reflect on the changes that triggered the expansion of boundaries / Esta dissertação de mestrado teve como objeto de investigação a obra de Carlos Vergara, com enfoque em trabalhos realizados na década de 1960: Happening G4, Berço Esplêndido, Brinquedo (Objetos-Módulos), Empilhamentos; além de trabalhos dos anos 1990 e 2000, tais como Capela do Morumbi, Farmácia Baldia e Feira de Adivinhações. A partir dessas obras, foi discutido como o artista direcionou sua produção para além do meio pictórico em diferentes momentos da sua trajetória, sobre o impulso que presidiu suas operações no eixo do vanguardismo brasileiro, passando da experiência visual pura ao experimental e às proposições comportamentais que engendraram uma arte com o intuito de ser vivenciada pelo público, ou mesmo constituída pela participação dele. Fez-se, assim, a reflexão sobre o caráter expandido na obra do artista desde o início da sua trajetória, na década de 1960 à atualidade de seu processo criativo. Pretendeu-se, assim, refletir sobre as transformações que desencadeava a ampliação de limites

Aus der Einleitung S. 7: „Anders als in den Kriegen vergangener Epochen hat der Zweite Weltkrieg im Zeichen der totalen Kriegsführung des 20. Jahrhunderts die Grenzen zwischen dem Militär und der Zivilbevölkerung endgültig verwischt. Das gilt für die unmittelbare Kriegsführung wie für die Kriegsfolgen, zu denen neben Deportation, Flucht und Vertreibung nicht zuletzt die Gefangenschaft zählt. Gefangenschaft war ein millionenfaches Schicksal, das in den Jahren nach 1939 Soldaten wie Zivilisten traf – insbesondere in dem 1941 von Hitler begonnenen, rassenideologisch motivierten Angriffs- und Vernichtungskrieges des Deutschen Reiches gegen die Sowjetunion...”

Va savoir, le huitième roman de Réjean Ducharme, occupe une place singulière au sein de son œuvre romanesque en ce qu’il réalise une synthèse entre les romans « d’enfance » et les romans « adultes » tout en proposant quelques éléments nouveaux qui signalent une autre étape dans l’écriture. En s’appuyant sur la présence étonnante et marquée du sacré et du discours religieux – la reprise de ses images, ses schèmes et ses enseignements dans l’intertexte du roman – ce mémoire propose d’étudier, selon l’angle de la sociocritique, par quels dispositifs ces emprunts au religieux s’établissent au cœur du roman, travaillent la langue, façonnent les personnages et révèlent l’empreinte profonde d’un héritage dont la portée, pouvant aussi se montrer moderne et originale, se mesure encore dans Va savoir et redessine les contours de l’imaginaire ducharmien.

Was Douglas MacArthur directly responsible for the ineffectiveness of the Philippine military during the Philippine campaign of 1941-1942? This question is still a point of debate among historians. During the six years that preceded the United States entrance into the Second World War, the government of the Commonwealth of the Philippines attempted to implement a national defense plan devised by Douglas MacArthur. The end goal of MacArthur's plan was the creation of a professional Filipino military force that would be able to adequately defend the Philippines against invasion. From late 1935 until mid 1941 , MacArthur served as the official United States military adviser to the Commonwealth government. When war with Japan occurred in late 1941 the Philippine military was in dismal shape. The argument that MacArthur was directly responsible for the ineffectiveness of the Philippine military in the Philippine campaign of 1941-1942 is strongly supported by historical evidence of events that occurred during the creation, development, and fielding of the Philippine military in 1934-1941. An investigation of historical evidence shows that MacArthur is responsible for making a series of errors that caused rampant financial problems and an inadequate training program. These factors directly contributed to the ineffectiveness of Philippine military units during the 1941-1942 campaign.

This is the first intensive study of Henri Bergson's influence on Katherine Mansfield's fiction. As I shall explore more fully in Chapter 1, it has frequently been mentioned that Bergson was a great influence on modernist writers and artists, and even on the public at that time. Although it has been at least acknowledged that Mansfield was also inspired by Bergson's philosophy, with the exception of Angela Smith's discussion in Katherine Mansfield: A Literary Life, no detailed account has been offered as to how much and in what ways Bergson's philosophy influenced Mansfield's writing. The lack of studies on this topic might seem surprising, given that Mansfield played some part in introducing the then new philosophy of Bergson to British literary society, with her colleagues, working on the Bergsonian magazine,Rhythm. Nevertheless, it is no wonder that the link between Mansfield and Bergson has not been dealt with in most studies in Mansfield's fiction, considering that her writing does not show what commentators at present commonly know as 'Bergsonian' as obviously as works by some of her contemporaries do. It might seem easier to link Bergson and writers whose famous works are experimental such as James Joyce and Virginia Woolf In this thesis, however, I argue that this view of the difference between Joyce and Woolf, who are 'Bergsonian', and Mansfield, who is not, results from basic misunderstandings and stereotypicali deas of Bergson's philosophy and Modernism in present literary criticism. Agreeing with other Mansfield critics, I find it worth noting that her fiction has not been appreciated as much as work of some of her contemporary writers such as Woolf, who was jealous of Mansfield's writing. Just like Bergson, who was extremely popular in his lifetime but soon lost his fame posthumously, Mansfield has failed to attract as much critical attention as might have been expected, although it is significant that her work is popular with common readers, and has never gone out of print. Scholars of her work have studied her as a modernist, woman, and colonial writer, but she is seldom discussed in detail in extensive studies on Modernism; her work has not been a major focus for feminist or postcolonial critics either despite the fact that she is a female New Zealand writer. I argue that the ambiguity, or duality, of Mansfield's writing in terms of nationality, gender, and class which often prevents us from reaching a lucid conclusion on these issues in her stories, is one of the causes of the difficulty of approaching Mansfield's apparently simple writing. Although her well planned ambiguity, like Bergson's, might cause her ideas to be wrongly interpreted as inconsistent at times, I see it as her crucial link with Bergson, or as a strong piece of evidence of her modernity. The aim of this thesis is to reassess Mansfield from multiple perspectives by closely examining her connections with Bergson.