Habilitationsschrift--Fachbereich 11--Mainz--Johannes Gutenberg-Universität, 2005. / Bibliogr. p. 271-283.

Thesis (MFA)--Rochester Institute of Technology, 1989. / Includes bibliographical references (leaf 19).

Autour de 1950, des artistes londoniens – Kenneth Martin, Mary Martin, Adrian Heath, Anthony Hill – adoptent l’abstraction géométrique, suivant l’exemple de Victor Pasmore, célèbre jusqu’alors pour sa peinture figurative. Malgré une proximité formelle avec le néoplasticisme de Ben Nicholson, leurs œuvres appartiennent à une autre tradition déduite de l’École de Paris et nourrie de références anglaises. Ce groupe ne se définit pas contre les valeurs dominantes de son époque, mais participe pleinement à l’idéologie de la reconstruction. Il se distingue progressivement de l’école de Saint Ives qui lui avait été associée pour se rapprocher de l’Independent Group au milieu des années 1950. En 1957, le critique d’art Lawrence Alloway voit dans ce groupe l’avènement d’un nouveau constructivisme vierge des implications architecturales de son antécédent historique. C’est, en fait, dans l’importance accordée à l’expérience physique de l’œuvre dans l’espace que ces artistes manifestent leur contemporanéité. / In the 1950’s a group of London artists – Kenneth Martin, Mary Martin, Adrian Heath and Anthony Hill – adopted a geometric abstract art, following the example of Victor Pasmore, famous until then for his figurative painting. Despite some formal proximity with Ben Nicholson’s Neoplasticism, their works belong to another tradition derived from the “School of Paris” with specifically English references.The group is not defined as being against the dominant values of its era: it plays a fully-fledged part in the ideology of reconstruction. It strayed from the Saint-Ives School of painters to which it had been associated, and came closer to the Independent Group in the mid 1950’s.The art critic Lawrence Alloway described it in 1957 as marking the advent of a new Constructivism, free of the architectural implications of its historical antecedent. Yet it is in their focus on the physical experience of the work of art in space that their contemporaneity is obvious.

Made available in DSpace on 2016-06-02T20:11:04Z (GMT). No. of bitstreams: 1 6318.pdf: 1199095 bytes, checksum: 81564b66dfc3200644f830d3a8f5f82d (MD5) Previous issue date: 2014-08-18 / This dissertation seeks to analyze the dystopic novel The Wanting Seed (1962), by the English writer Anthony Burgess with the objective of identifying in which way both structure and the development of the work points to, at an aesthetic level, the global feeling of utopia, which Fredric Jameson (2007) calls utopic desire or utopic impulse, which is present in daily life, in politics, in social movements and revolutions. Through the political reading, this research tries to show that, far beyond a novel about a degenerated future by overpopulation, this book presents, in its formal contradictions, much from the social, political and economic global movement of which it is part. / Esta dissertação procura analisar o romance distópico The Wanting Seed (1962), do inglês Anthony Burgess com o objetivo de identificar de que maneira a estrutura e o desenvolvimento da obra aponta, em nível estético, o sentimento global de utopia, o que Fredric Jameson (2007) chama de desejo utópico ou impulso utópico, que está presente na vida cotidiana, na política, em movimentos sociais e revoluções. Por meio da leitura política, este trabalho procura mostrar que, muito além de um romance sobre um futuro degradado pela superpopulação, essa obra apresenta, em suas contradições formais, muito do movimento social, político e econômico global do qual é parte.

Denna avhandling tillämpar Anthony Giddens teori om sen-modernitet på gymnasieutbildningen, och i synnerhet dess inverkan på föreställningarna om ’jaget’ och självidentiteten. Den ger svar på den didaktiska frågan ”till vem?”. Dess avsikt är att förstå eleverna på en existentiell nivå, och att förstå hur de påverkas av den samtida världen. Giddens bok från 1991, Modernity and Self Identity: Self and Society in the Late Modern Age, används som teoretiska ramverket. Denna avhandling har två delar. I den första delen genomför jag ett läroplansanalys av den svenska gymnasieskolan från 1970 till 2022 och tolkar läroplanerna genom sen-modernitetens teoretiska ramar. Detta visar hur villkoren för ’högmodernitet’ återspeglas i läroplanen, vilket motiverar att överväga hur dessa förhållanden påverkar våra elevers självidentitet och vad detta betyder för undervisningen. I den andra delen utvecklar jag en didaktisk modell som kan vara till hjälp i vår undervisning då den ger klarhet om eleven under sen-moderniteten. / This thesis applies Anthony Gidden’s theory of late modernity to upper secondary school education and, in particular, its impact on the notions of the self and self-identity. It provides an answer to the didactic question “to whom?”. The intent is to understand the students at an existential level, and to understand how they are affected by the contemporary world. Giddens’ 1991 book, Modernity and Self Identity: Self and Society in the Late Modern Age, is used as the theoretical framework. This thesis has two parts. In the first, I carry out a curriculum study of Swedish upper secondary school from 1970 to 2022 and interpret the curricula through the theoretical framework of late modernity. This shows how the conditions of ‘high modernity’ are reflected in the curriculum, which justifies considering how these conditions impact on the self-identity of our students and what this means for teaching. In the second part, I develop a didactic model that can assist in our teaching as it provides clarity on the student in late modernity.

Postcolonial theory teaches us that the Empire was as much a textual as a physical undertaking: the Empire was (and is) experienced through its texts. Anthony Trollope was an enthusiastic traveller and helped to "write the Empire" in both his travel narratives and in his novels. This study examines his travel narrative South Africa, and explores how the colony is depicted in this work and in Trollope's "colonial" novels: Harry Heathcote of Gangoil, John Caldigate, An Old Man's Love and The Fixed Period. Trollope's colonies are places of moral danger where the value systems instilled by English society provide the only means for overcoming the corrupting influences of the colonial space. He writes the colonies as images of Britain, but these images are never true reflections of the homeland: there is always an element of distortion present, which serves to subvert the "Englishness" of his colonial landscapes. / English Studies / MA (ENGLISH)

Esta obra aponta questões de ordem metodológica e epistemológica na teoria da estruturação de Anthony Giddens, problemas reconhecidos e debatidos por vários de seus comentadores. Seguindo pistas encontradas nos próprios textos de Giddens, ela analisa com maior detalhe alguns livros de Mary Hesse e Roy Bhaskar, em busca de elementos que ajudem numa reconstrução metodológica da teoria de Giddens. Finalmente, ela argumenta em favor de uma maior atenção ao modelo de redes de Hesse, como uma ferramenta muito mais fértil para a análise de Giddens do que o realismo crítico de Bhaskar, para tentarmos resolver os dilemas que Giddens enfrenta. Como anexo, temos traduções de vários textos dos comentaristas mais importantes de Giddens, e também dois artigos do próprio, inéditos em português. / This work raises methodological and epistemological questions regarding Anthony Giddens theory of structuration, issues that have been acknowledged and debated by several of his critics. Following clues found in Giddens own texts, it analyses more deeply some works by Mary Hesse and Roy Bhaskar, searching for elements that would help with a methodological reconstruction of Giddens theory. Finally, it argues for greater attention towards Hesses network model, as a much more fruitful tool for analyzing Giddens than Bhaskars critical realism, in order to attempt to solve the dilemmas that Giddens faces. Also included are translations of several articles written by Giddens most important critics, and two papers by Giddens himself, previously unavailable in Portuguese.

Esta obra aponta questões de ordem metodológica e epistemológica na teoria da estruturação de Anthony Giddens, problemas reconhecidos e debatidos por vários de seus comentadores. Seguindo pistas encontradas nos próprios textos de Giddens, ela analisa com maior detalhe alguns livros de Mary Hesse e Roy Bhaskar, em busca de elementos que ajudem numa reconstrução metodológica da teoria de Giddens. Finalmente, ela argumenta em favor de uma maior atenção ao modelo de redes de Hesse, como uma ferramenta muito mais fértil para a análise de Giddens do que o realismo crítico de Bhaskar, para tentarmos resolver os dilemas que Giddens enfrenta. Como anexo, temos traduções de vários textos dos comentaristas mais importantes de Giddens, e também dois artigos do próprio, inéditos em português. / This work raises methodological and epistemological questions regarding Anthony Giddens theory of structuration, issues that have been acknowledged and debated by several of his critics. Following clues found in Giddens own texts, it analyses more deeply some works by Mary Hesse and Roy Bhaskar, searching for elements that would help with a methodological reconstruction of Giddens theory. Finally, it argues for greater attention towards Hesses network model, as a much more fruitful tool for analyzing Giddens than Bhaskars critical realism, in order to attempt to solve the dilemmas that Giddens faces. Also included are translations of several articles written by Giddens most important critics, and two papers by Giddens himself, previously unavailable in Portuguese.

Allant d’une autobiographie où la fictionnalisation du vécu confine à l’invraisemblable, à des biographies imaginaires où des personae de l’auteur construisent librement la figure de leurs « biographiés », Anthony Burgess jongle avec les pactes de vérité et la fabulation-affabulation. Les vertiges cognitifs des métabiographies postmodernes affleurent en filigrane, mais à la mélancolie de l’impossible résurrection textuelle du sujet biographique, les biofictions érudites de Burgess substituent la prolifération d’existences virtuelles, de mythes, fantasmes et simulacres, pour mieux mettre en question les formes institutionnelles du genre, savantes et commerciales. Au cœur de l’entreprise [auto]biofictionnelle de Burgess, se dessine une tension contradictoire entre un désir de restituer ces « vies » dans leur réalité charnelle, individuelle, démythifiée, et l’inclination mytho-poétique du romancier qui leur impose le filtre de sa vision du monde catholique et manichéenne. Le Marlowe, le Shakespeare, le Mozart, le Napoléon, le Keats de Burgess ne sont-il que des spectres romanesques, dont les référents historiques ont été vampirisés par le romancier-biographe ? Les biofictions de Burgess, où se rencontrent, en même temps que plusieurs subjectivités artistiques, divers modes d’appréhension de l’écriture et de la vie [essai critique, chronotope biographique, flux de conscience moderniste, citation intertextuelle], réaffirment le caractère indissociable de la vie, de la création et de l’oeuvre. Sa quête romantique-humaniste qui cherche à restaurer la singularité existentielle de ses prédécesseurs conteste de l’intérieur la textualité thanatographique moderne. / In his autobiography, where his fictionalizing his « real life » borders on the unbelievable, as well as in his fictional biographies, where authorial personae freely create the figures of their biographees, Anthony Burgess juggles his way between authorial truth commitments and blatant invention. The epistemological void revealed by postmodernist metabiographies is not thoroughly absent, but Burgess’s erudite « biofictions » eschew such melancholy brooding on the impossibility to resurrect the biographee, and, instead, celebrate virtual possibilities of existence, myths, fantasies and simulacra – and, doing so, deflate the naïve seriousness of academic or popular versions of the genre. At the core of Burgess’s literary experiments in the [auto]biographical mode lies a contradictory tension between his desire to fully convey the bodily, individual, de-mythified reality of these lives, and the novelist’s mytho-poetical tendency to filter them through the lens of his Catholic and Manichean worldview. Are his Marlowe, Shakespeare, Mozart, Napoleon and Keats but spectral fictional figures, whose historic real selves have been cannibalized by the idiosyncrasy of the novelist-biographer ? Burgess’s « biofictions » are a confluence of several artistic selves, but also of several ways to comprehend the relationship between life and writing [critical essay, biographical chronotope, modernist flow of consciousness, intertextual quotation], thus reasserting the organic connection between life, creation, and the work of art. His romantic-humanist quest for the singular existential selves of his artist predecessors challenges, from within the text, modern thanatographic textuality.

The aim of this thesis is to analyze the fictional and non-fictional literary works of two Taiwanese eco-environmental writers Liu Kexiang and Wu Mingyi in the context of the transformation of interpersonal sphere. Eco-environmental literature represents a significant literary trend that has been pursued in Taiwan at the end of the 20th century. It develops Taiwanese literary tradition in a new way through the reflection of Western and Eastern theories in the domestic context and Taiwanese cultural specifics from the perspective of natural history and scientific knowledge. The first part of the thesis summarizes academic discussions on the topic of eco- environmental literature. This is characterized by the initial insufficient theoretical basis of Taiwanese environmental studies, the desire to maintain this trend beyond purely literary criticism, the assumption of Western environmental discourse theories, and the involvement of writers themselves in theoretical discussions and the gradual shift to ecocriticism. It also puts it in a historical context and explores its dominant topics. The analytical part of the thesis is based on the theory of modernity of British sociologist Anthony Giddens. It analyzes works based on the sources of modernity, which are time-space distanciation, disembedding of...