Titre de l'écran-titre (visionné le 6 décembre 2023) / Cette étude propose l'analyse de la représentation de l'interdiction de l'inhumation par ordre de pouvoirs autoritaires et, plus précisément, dans la pièce d'Antigone de Sophocle et les adaptations d'Anouilh et de Brecht, et dans le roman de Dorfman. À l'aide des réflexions issues des théories de Hegel, de Freud et d'Agamben, l'objectif est de montrer les similitudes et les transformations de l'intrigue initiale et d'interroger comment le personnage d'Antigone est réapproprié et devenu pluriel par les événements historico-politiques dans les adaptations modernes. De manière plus générale, ce mémoire s'intéresse à l'interdiction des funérailles par les États et met en lumière les perspectives philosophiques et psychologiques liées à la rébellion d'Antigone dans quatre textes littéraires ayant le même thème dans un contexte social différent. Notre recherche est divisée en trois chapitres. La première porte sur le concept de théâtre politique et par une analyse de la pièce Antigone et de la situation politique de la Grèce antique, au travers d'une critique de la théorie d'Hegel sur Antigone. Le deuxième s'intéresse à la réévaluation de la Seconde Guerre mondiale basée sur le concept de traumatisme et sa théorisation par Freud, en vue d'une analyse des deux pièces Antigone d'Anouilh et de Brecht et de leurs opinions différentes sur l'adaptation de la pièce Antigone dans le contexte de la guerre. Le troisième se penche sur les diverses adaptations d'Antigone à notre époque en fonction de la situation politique spécifique de cette époque. Et à la fin, il y a une analyse du roman Les Veuves de Dorfman, selon la théorie philosophique et politique d'Agamben sur les crises résultant de gouvernements totalitaires. Comment le théâtre et la littérature peuvent-ils être les porte-parole des moments critiques d'une société et comment un texte ancien peut-il être entendu par l'adaptation de telle sorte qu'il parle de nos vies ? / This study proposes the analysis of the representation of the prohibition of burial going by the totalitarian powers to the theater and the literature, more precisely in the play of Antigone by Sophocles and the adaptations of Anouilh, Brecht and Dorfman. Using reflections from the philosophical theories of Hegel, Freud and Agamben and theories of adaptation, the objective is to demonstrate the similarities and transformations of this play and to question how the character of Antigone is reproduced and made plural by historical and political events in literary adaptations. More generally, this thesis focuses on the prohibition of funerals by the states and highlights the philosophical-psychological perspectives linked to the rebellion of Antigone in four literary texts having the same theme in a context of different social. The thesis consists of research divided into three chapters. The first deals with the concept of political theater and it is an analysis of the play Antigone and the political situation in ancient Greece, and it is a critique of Hegel's theory of Antigone. The second deals with the description of the Second World War based on the concept of trauma and Freud's theory on this subject, and it is an analysis of the two plays Antigone by Anouilh and Brecht and their differing opinions on the adaptation of the play Antigone in Atmosphere War. The third looks at the various adaptations of Antigone to our time depending on the specific political situation of that time. And at the end, there is an analysis of Dorfman's novel The Widows according to Agamben's philosophical-political theory of the resulting crises of our time in totalitarian governments. How can theater and literature be the mouthpieces of a society's critical moments and how can an ancient text be audited through adaptation in such a way that it speaks to our lives?

Government investigations into the motion picture industry are well-documented, as is the widespread blacklisting that was concurrent. Not nearly so well documented are the many investigations of musicians and musical organizations which occurred during this same period. The degree to which various musicians and musical organizations were investigated varied considerably. Some warranted only passing mention, while others were rigorously questioned in formal Congressional hearings. Hanns Eisler was deported as a result of the House Committee on Un-American Activities' (HUAC) investigation into his background and activities in the United States. Leonard Bernstein, Marc Blitzstein, and Aaron Copland are but a few of the prominent composers investigated by the government for their involvement in leftist organizations. The Symphony of the Air was denied visas for a Near East tour after several orchestra members were implicated as Communists. Members of musicians' unions in New York and Los Angeles were called before HUAC hearings because of alleged infiltration by Communists into their ranks. The Metropolitan Music School of New York, led by its president-emeritus, the composer Wallingford Riegger, was the subject of a two day congressional hearing in New York City. There is no way to measure either quantitatively or qualitatively the effect of the period on the music but only the extent to which the activities affected the musicians themselves. The extraordinary paucity of published information about the treatment of the musicians during this period is put into even greater relief when compared to the thorough manner in which the other arts, notably literature and film, have been examined. This work attempts to fill this gap and shed light on a particularly dark chapter in the history of contemporary music.

Neste trabalho estuda-se a interação solo-estrutura de grupo de edifícios com fundações superficiais, em maciço de solos de argila mole. O comportamento ao longo do tempo da argila mole é analisado com o modelo reológico de Kelvin. Os parâmetros do modelo são determinados através do ajuste entre as curvas recalque – tempo do modelo e as curvas medidas em três prédios, construídos simultaneamente, na cidade de Santos/SP - Brasil. O estudo da interação solo–estrutura entre os edifícios do grupo e o maciço de solos utilizou a metodologia de CHAMECKI (1956), onde a superestrutura é modelada como pórtico espacial elástico linear e, o solo é modelado como meio elástico estratificado conforme AOKI e LOPES (1975). Estudos paramétricos demonstram a influência da rigidez da estrutura, do efeito de grupo entre as fundações superficiais, do processo construtivo e das construções vizinhas, na configuração final dos recalques / This work presents a methodology for the soil-estructure interaction analysis of a group of buildings on shallow foundations in soft clay soils. The long term behavior of clay is modeled by Kelvin’s rheological model. Model parameters is evaluated by back-analysis of measured settlement – time curves. The soil–estructure interaction is based on CHAMECKI (1956) model, where the superstructure is modeled is a spatial elastic linear frame and, the soil is modeled is an elastic linear stratified half space according to AOKI & LOPES (1975). Parametric studies shows the influence of the superstructure stiffness, the interaction among buildings foundations, and the effect construction steps in the final settlements configuration

Made available in DSpace on 2016-04-27T19:31:34Z (GMT). No. of bitstreams: 1 Maura Leal da Silva.pdf: 2679553 bytes, checksum: 207feb15b39b3942b2699de7f6b1d7c8 (MD5) Previous issue date: 2007-06-25 / This work has as objective to study the foundation of the Território Federal do Amapá as purpose to the integration of this brazilian region nation and fundamentally to demonstrate that this political autonomy meant the conquest of a brazilian identity. How it was up to Janary Nunes as first territorial governor, the task of accomplishing this integration, in this way he became the Amapá imaginary founder . As central questions developed by this work, they have the images about Amazony as conditional element to the construction of the project which originated the amapaense territory; the administ>ration pretension of Janary Nunes in constructing a idea of the beginning to a new territory; the janarista administration base conditioned to the varguista ideals of development to the country; and the search in forming the amapaense brazilian citizen as fundamental element in the construction of the Amapá wondered. It was researched the files of the State produced during the Janary Nunes government (1944-1956) what it was used as sources: the newspapers of the territorial official press Amapá from this period; government reports; IBGE sources; official correspondence; Constituent Body Anals from 1946; books and memorials of this period / O presente trabalho objetivou estudar a criação do Território Federal do Amapá como proposta para integração desta região à nação brasileira e, fundamentalmente demonstrar que esta autonomia política significou a conquista de uma identidade brasileira, até então inexistente. Como coube a Janary Nunes, na condição de primeiro governador territorial, a tarefa de efetivar esta integração, acabou por se tornar o imaginário fundador do Amapá. Como questões centrais desenvolvidas por este estudo estão: a imagem sobre a Amazônia como elemento condicionante para a construção do projeto que originou o Território amapaense; a pretensão da gestão de Janary Nunes em construir uma idéia de começo para o novo Território; a base da administração janarista condicionada aos ideais varguista de desenvolvimento para o país; e a busca em formar o cidadão amapaense-brasileiro como elemento fundamental na construção do Amapá desejado. Buscou-se pesquisar os arquivos do Estado produzidos durante o governo de Janary Nunes (1944-1956), para tanto foram utilizadas como fontes: os números dos jornais da imprensa oficial territorial, AMAPÁ, desse período; relatórios de governo; fontes do IBGE; correspondências oficiais; Anais da Assembléia Constituinte de 1946; livros e memórias da época

Neste trabalho estuda-se a interação solo-estrutura de grupo de edifícios com fundações superficiais, em maciço de solos de argila mole. O comportamento ao longo do tempo da argila mole é analisado com o modelo reológico de Kelvin. Os parâmetros do modelo são determinados através do ajuste entre as curvas recalque – tempo do modelo e as curvas medidas em três prédios, construídos simultaneamente, na cidade de Santos/SP - Brasil. O estudo da interação solo–estrutura entre os edifícios do grupo e o maciço de solos utilizou a metodologia de CHAMECKI (1956), onde a superestrutura é modelada como pórtico espacial elástico linear e, o solo é modelado como meio elástico estratificado conforme AOKI e LOPES (1975). Estudos paramétricos demonstram a influência da rigidez da estrutura, do efeito de grupo entre as fundações superficiais, do processo construtivo e das construções vizinhas, na configuração final dos recalques / This work presents a methodology for the soil-estructure interaction analysis of a group of buildings on shallow foundations in soft clay soils. The long term behavior of clay is modeled by Kelvin’s rheological model. Model parameters is evaluated by back-analysis of measured settlement – time curves. The soil–estructure interaction is based on CHAMECKI (1956) model, where the superstructure is modeled is a spatial elastic linear frame and, the soil is modeled is an elastic linear stratified half space according to AOKI & LOPES (1975). Parametric studies shows the influence of the superstructure stiffness, the interaction among buildings foundations, and the effect construction steps in the final settlements configuration

Abstract not available

This research provides an analytical reading of five southern African war novels, in a transnational study of the experience of war as represented by the novels' authors. In order to situate the texts within a transnational tradition of writing about modern warfare, I draw on Paul Fussell's work on the fictional writings of the Second World War in combination with Tobey Herzog's work on the writings of America's war in Vietnam. Through a reading of Sousa Jamba's Patriots and Mark Behr's The Smell of Apples. I illustrate that while these and other southern African war texts can be situated within a transnational tradition of writing about modern warfare, they also extend the tradition by adding new and previously silenced voices. I then turn to a focus on specific experiences of southern African anti-colonial war as represented in Pepetela's Mayombe and Mark Behr's The Smell of Apples. These texts are read in light of Franz Fanon's extensive writings on the nature of colonial violence and with a focus on the role of the victim and perpetrator in violent resistance to colonial oppression. Following this, and keeping with my examination of the experience of war in southern Africa, I read Pepetela's Mayombe. Sousa Jamba's Patriots and Chenjerai Hove's Bones with a view to highlighting their writing of women in times of war. Using the work of Florence Stratton, this section exposes the great difficulties faced by women in times of war as a result of war's complicity in the maintenance of patriarchal societal structures. Finally, I read Chenjerai Hove's Bones and Mia Couto's Under the Frangipani as post-war texts so as to highlight the authors' use of organic images to imagine post-war futures that are not tainted by the experience of war. In examining this topic, I aim to suggest that all of the texts studied show war to be a continuum that results in failed societies. I therefore read the texts as active interventions that seek to break the destructive cycle of the region's wars in the hope of better and constructive futures. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.

This is a comparative study of a selection of the works of H.I.E. and R.R.R. Dhlomo in an attempt to specify the ways in which both writers contributed to constructing a sense of African modernity. While the focus will be on the content of the writing, it will include an analysis of the form and style of the literature, as well as the historical and political setting of the work, and of the authors. By employing the theoretical work of Alain Locke, David Attwell and Tim Couzens, I will address the issue of how Herbert and Rolfes Dhlomo negotiate the issue of a Christian modernity, as well as the ambiguous relationship between tradition and modernity. Another matter that I will focus on is that of the differences and similarities of their writing, in terms of aesthetics and their positions vis-a-vis tradition, modernity and the role of the Black subject, among other topics. Some questions that I will address are whether they are both contributing to an African modernity, and in what sense, and whether Rolfes' work complements that of Herbert, and vice versa. This will be done through a close reading of selected works across a range of mediums, from literary texts such as plays, poems and short stories to the print media. In the Introduction I will outline the key theoretical work and definitions that I will make use of in my research, as well as give brief biographies of the two writers under examination. In Chapter One I will make a close reading of selected works of Herbert Dhlomo, and will attempt to show his changing role in the establishment of a sense of an African modernity. In Chapter Two the focus of my work will be selected prose fiction of Rolfes Dhlomo. I will examine the major themes of these works, and show how they pertain to a sense of an African modernity. In Chapter Three I will examine Rolfes Dhlomo's "R. Roamer Esq." column from the Bantu World. I have selected in particular the year 1941, and I will show how Rolfes Dhlomo used satire and topical issues to help in the creation of a sense of African modernity. The Conclusion deals with the findings of my research on the role that Herbert and Rolfes Dhlomo played in the creation of an African modernity in South Africa. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2004.

This study is a consideration of the notion of the artist as a visionary. This perception of the artist is explored in relation to the work and ideas of three twentieth century artists; the American painter Jackson Pollock (1912-1952), the German artist Joseph Beuys (1921-1983) and the South African artist Jackson Hlungwani (1918 -). The work and ideas of these artists is discussed primarily in terms of the similarities and differences between their art and ideas and those encountered in traditional shamanism and the visionary aspects of Romantic and Gothic art and culture as represented by the work and ideas of eighteenth century English poet and painter William Blake (1757-1827). Each of the twentieth century artists who are considered represents a different strain of the idea of the artist as a visionary. Pollock is discussed in terms of his implicit identification with the artist-shaman. This identification is revealed by the influence Jung's writings and Native American (Indian) art and culture had on his work. Beuys is considered in relation to his explicit adoption of a shaman-like persona. Hlungwani is a practising healer in a traditional community whose art explores an apocalyptic vision of redemption. The comparisons between the artists under investigation and the visionary aspects of traditional shamanism and Gothic and Romantic culture entail an analysis of pictorial elements, subject matter and content in the work of these artists. The intention was to explore those properties in the work and ideas of these artists which correspond to the notion of the artist as a visionary. / Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 1996.

Ce mémoire examine la trajectoire d'un débat conceptuel ayant marqué le champ des théories du nationalisme. Il s'agit de l'affrontement intellectuel portant sur le problème de l'articulation du racisme et du nationalisme. Dans cette recherche, six contributions majeures de théoriciens du nationalisme seront à l'étude. Il s'agit d'écrits de : Tom Nairn, Anthony Smith, Benedict Anderson, Paul Gilroy, Étienne Balibar et Edward Said. À travers une analyse historique, nous verrons comment chacune de ces interventions modifie ou réaffirme les conventions qui régissent le débat. Cette étude montre l'existence de trois moments, définis par un traitement similaire du problème de la relation du racisme au nationalisme. Ces ressemblances concernent avant tout les préoccupations et les questionnements au fondement des réflexions. Dans un premier temps, à la fin des années 1970 et au début des années 1980, malgré certains différends, la démarche des théoriciens du nationalisme comporte d'importantes similitudes. Ils s'intéressent au racisme et au nationalisme d'une façon globale, puis ils recherchent avant tout l'origine historique de ces phénomènes. Lors d'un second moment, à la fin des années 1980, les contributeurs au débat se penchent sur les représentations sociales constitutives du nationalisme et du racisme, puis ils examinent la formation des frontières symboliques de la nation. En troisième lieu, au cours des années 1990, l'expérience historique de l'impérialisme devient centrale pour la compréhension du lien entre le racisme et le nationalisme, notamment en ce qui concerne leur forme contemporaine. ______________________________________________________________________________