O século XIX retoma, por meio de narrativas literárias e pictóricas, o enredo de Antão, personagem da religião católica que teria se exilado no deserto em busca da dedicação às suas orações e à leitura bíblica. A representação de Antão do deserto, do Santo Antão, é revista no texto literário de Gustave Flaubert e na pintura de Paul Cézanne. Flaubert, nas três versões de sua La Tentation de saint Antoine (1849, 1856 e 1874), reconstruiu o enredo do santo por meio do discurso da alucinação, articulado a suas leituras, estudos e observações do quotidiano, como se notam em seus relatos de viagem e em seus manuscritos. O escritor busca na construção do erótico e da ciência a base para o questionamento da fé do santo, atormentado por imagens invocadas dum sem-número de relações interdiscursivas. Cézanne, por sua vez, busca nas referências pictóricas, em especial em pinturas do século XIX, a produção de sua La Tentation de saint Antoine, estabelecendo, sobretudo na versão definitiva (1877), relações com a obra de Flaubert. / The 19th century recovers, through literary and pictorial narratives, the story of Anthony, a character from the catholic religion whose legend says that he exiled himself in the desert in search of full dedication to his prayers and biblical readings. The representation of Anthony, or Saint Anthony, in the desert is revised on Gustave Flauberts literary text and Paul Cézannes painting. Flaubert, in the three versions of his The Temptation of Saint Anthony (1849, 1856 and 1874), reconstructed the story of the saint through the discourse of hallucination, articulating to his readings studies and quotidian observations of hallucination, as shown in his travel reports and in his manuscripts. The writer searches in the construction of the erotic and of the science the basis for the questioning of the saints faith, who was tormented by images invoked from an infinite number of inter-discursive relations. Cézanne, on the other hand, searches in the pictorial references, specially in 19th century paintings, the production of his The Temptation of Saint Anthony, establishing, particularly in the definitive version (1877), relations to Flauberts work.

Made available in DSpace on 2016-04-28T14:16:40Z (GMT). No. of bitstreams: 1 Marcelo Akira Hueda.pdf: 931223 bytes, checksum: ed10fcfcb79a8f804f3accfcea991962 (MD5) Previous issue date: 2009-05-18 / Secretaria da Educação do Estado de São Paulo / Published anonymously in 1844, the book Vestiges of the natural history of creation triggered one of the greatest public debates which took place in the 19th century. Its author Robert Chambers proposed the transformation of living beings and the origin of new species by natural causes. The first aim of this dissertation is to describe some evolutionary concepts presented in the book. The second one is to compare them to the final version of Lamarck s theory on the progression of animals. This dissertation contains an introduction and four chapters. Chapter 1 discusses the evolutionary precedents and the general context in which Chambers presented his views concerning the transmutation of species. It also describes his career and professional interests. Chapter 2 deals with Chambers main evolutionary ideas. Chapter 3 provides a comparison between Chambers' and Lamarck's views, showing their similarities and differences. Chapter 4 offers some final remarks on the subject. This study led to the conclusion that although several similarities between Chambers' and Lamarck's evolutionary ideas may be found in some respects, such as gradualism, progression, uniformitarism, natural laws and no interference of God in natural processes, there were also some relevant differences such as the way in which they attempted to provide a foundation for their theories. Whereas Chambers presented many arguments using the fossil records as well as some other ones related to rudimentary organs and embryology, Lamarck made scarce use of the fossil record for the foundation of his theory. Instead of this, he provided a huge mass of facts showing the existence of a progression of the great taxonomical groups of animals. The arrangement of those groups in a progressive scale, however, did not provide an empirical foundation for what had happened in time. On the other hand, Chambers presented laws different from Lamarck's. However, although he did not propose a law dealing with the increase of the complexity of the great groups or individuals as Lamarck did, this idea permeated all of Chambers' ideas on the transmutation of species / Publicado anonimamente em 1844, o livro Vestiges of the natural history of creation desencadeou uma das maiores discussões públicas que ocorreram durante o século XIX. Seu autor, Robert Chambers, defendeu a transmutação dos seres vivos e a origem de novas espécies através de causas naturais. O primeiro objetivo desta dissertação é descrever algumas concepções evolutivas apresentadas neste livro e o segundo é compará-las à versão final da teoria da progressão dos animais de Lamarck. Esta dissertação contém uma introdução e quatro capítulos. O capítulo 1 discute os precedentes evolutivos e o contexto geral no qual Chambers apresentou suas idéias sobre a transmutação das espécies, tratando também de sua carreira e interesses profissionais. O capítulo 2 lida com alguns aspectos das concepções evolutivas de Chambers. O capítulo 3 oferece uma comparação entre as concepções de Chambers e Lamarck mostrando suas similaridades e diferenças. O capítulo 4 apresenta algumas considerações sobre o que foi discutido nos capítulos anteriores. Este estudo levou à conclusão de que embora possam ser detectadas diversas semelhanças entre alguns aspectos das concepções evolutivas de Chambers e as concepções evolutivas de Lamarck, tais como o gradualismo, a progressão, o uniformitarismo, as leis naturais e a não intervenção divina nos processos naturais, há também diferenças tais como o modo pelo qual eles procuraram fundamentar suas teorias. Enquanto Chambers apresentou exemplos obtidos principalmente a partir do registro fóssil e alguns relacionados à presença de órgãos rudimentares e à embriologia, Lamarck fez pouco uso do registro fóssil para fundamentar sua teoria. Em vez disso, forneceu uma grande massa de fatos mostrando a existência de uma progressão entre os grandes grupos de animais. O arranjo desses grupos em uma escala progressiva, entretanto, não proporcionou uma fundamentação empírica para o que ocorreu em termos cronológicos. Por outro lado, Chambers apresentou leis diferentes das apresentadas por Lamarck. Entretanto, apesar de não propor uma lei tratando da tendência para o aumento de complexidade existente na natureza em relação aos grandes grupos ou indivíduos como Lamarck, esta idéia permeou as concepções de Chambers sobre a transmutação das espécies

Made available in DSpace on 2016-04-28T14:16:41Z (GMT). No. of bitstreams: 1 Renata Mourao Crecchi.pdf: 12889816 bytes, checksum: 1c44d7bd5410bdc474064fee2a6f44a6 (MD5) Previous issue date: 2009-06-17 / Secretaria da Educação do Estado de São Paulo / The present work focuses on illustrations of the pneumatic trough used by Lavoisier. Verify its role as an icon of modern chemistry. For this purpose we have analysed images of this apparatus presented in chemistry textbooks printed during the first half of XX century, regarding its relations to the text and also to ideas concerning the origins of modern chemistry. The selected primary sources include the Traité Elementaire de Chimie de Lavoisier and some Brasilian chemistry textbooks that were available in the first half of the XX century, such as: Noções de Chimica Inorganica (1875) by João Martins Teixeira; Traité Élémentaire de Chimie (1910) de Troost & Ed Pechard; Lições de Chimica (1915) and Chimica Geral Chimica Organica Analyse Chimica (1915) by J. Basin; Elementos de Chimica Inorganica (1918 and 1921) by Tibúrcio do Amaral; Pontos de Chimica (1937) by Almeida Cousin / No presente trabalho focalizamos a ilustração da cuba pneumática usada por Lavoisier. Verificamos seu papel como um ícone da química moderna. Para isso analisamos imagens desse aparato presente em livros didáticos de química, da primeira metade do século XX, suas relações com o texto e com idéias sobre as origens da química moderna. Usamos como fonte primária o Traité Elementaire de Chimie de Lavoisier e os livros didáticos de química que circulavam no Brasil, na primeira metade do século XX, entre eles: Noções de Chimica Inorganica (1875) de João Martins Teixeira; Traité Élémentaire de Chimie (1910) de Troost & Ed Pechard; Lições de Chimica (1915) e Chimica Geral Chimica Organica Analyse Chimica (1915) de J. Basin; Elementos de Chimica Inorganica (1918 e 1921) de Tibúrcio do Amaral; Pontos de Chimica (1937) de Almeida Cousin

Democracy seems to be in crisis and scholars have started to consider the possibility that “the only game in town” might be rigged. This book theorizes the crisis of democracy from a structural point of view, arguing that liberal representative governments suffer from systemic corruption, a form of political decay that should be understood as the oligarchization of society, and proposes an anti-oligarchic institutional solution based on a radical interpretation of republican constitutional thought. If one agrees that the minimal normative expectation of liberal democracies is that governments should advance the welfare of the majority within constitutional safeguards, increasing income inequality and the relative immiseration of the majority of citizens would be in itself a deviation from good rule, a sign of corruption. As a way to understand how we could revert the current patterns of political corruption, the book provides an in-depth analysis of the institutional, procedural, and normative innovations to protect political liberty proposed by Niccolò Machiavelli, Nicolas de Condorcet, Rosa Luxemburg, and Hannah Arendt. Because their ideas to institutionalize popular power have consistently been misunderstood, instrumentalized, demonized, or neglected, part of what this project wants to accomplish is to offer a serious engagement with their proposals through a plebeian interpretative lens that renders them as part of the same intellectual tradition. In this way, the book assembles a “B side” of constitutional thought composed of the apparent misfits in a tradition that has been dominated by the impulse to suppress conflict instead of harnessing its liberty-producing properties. As a way to effectively deal with systemic corruption and oligarchic domination, the book proposes to follow this plebeian constitutionalism and instituionalize popular collective power. A proposed plebeian branch would be autonomous and aimed not at achieving self-government or direct democracy, but rather at an effort to both judge and censor elites who rule. The plebeian branch would consist of two institutions: a decentralized network of radically inclusive local assemblies, empowered to initiate and veto legislation as well as to exercise periodic constituent power, and a delegate, surveillance office able to enforce decisions and impeach public officials. The establishment of primary assemblies at the local level would not only allow ordinary people to push back against oligarchic domination through the political system but also inaugurate an institutional conception of the people as the many assembled locally: a political collective agent operating as a network of political judgment in permanent flow. The people as network would be a political subject with as many brains as assemblies, in which collective learning, reaction against domination, and social change would occur organically and independently from representative government and political parties.

In questo lavoro si cerca di applicare i principi teorici e i metodi del filosofo e traduttologo franco-canadese Antoine Berman a uno studio comparativo di quattro traduzioni (tedesca, inglese, danese ed italiana) del volume di racconti El Llano en llamas, di Juan Rulfo. L'applicazione della griglia analitica di Berman mira ad identificare i processi di trasformazione linguistica e culturale - ai quali i traduttori devono cedere nell'affrontare un'opera di pensiero e lingua stranieri, e le negoziazioni necessarie per travasare lo stile e i micro-universi testuali di Rulfo alle quattro lingue di arrivo. L'obiettivo è di misurare l'operatività di questa metodologia per un'analisi comparativa che mira a stabilire come e in che misura i testi rulfiani siano stati trasposti. Di fronte alle tendenze che mettono al centro la leggibilità di una traduzione e la considerazione delle competenze e attese del lettore di arrivo, Berman offre una prospettiva di tipo ermeneutico che si basa sulla nozione di 'ospitalità linguistica': l'obiettivo della traduzione non è quello di rendere comprensibile, di annettere, l'estraneo, bensì quello di accoglierlo in quanto estraneo per arricchire l'orizzonte di arrivo. / This work seeks to apply the theoretical principles and methods of the French-Canadian philosopher and translation theorist Antoine Berman to a comparative study of four translations (German, English, Danish and Italian) of Juan Rulfo's El Llano en llamas. The application of Berman's analytical grid aims at identifying the processes of linguistic and cultural transformation to which the translators cede when dealing with a work conceived and written in a foreign language. The analysis thus focuses on describing the negotiations needed to transfer Rulfo's style and his textual micro-universes to the four target languages. The main objective is to measure the efficacy of this methodology for a comparative analysis aimed at establishing how and to what extent Rulfo's texts have been transposed. In contrast to theoretical approaches where the readability of a translation and the consideration of the target reader's competences and expectations are the main focus, Berman offers a hermeneutical perspective based on the notion of 'linguistic hospitality': the aim of translation is not that of making the foreign comprehensible, of annexing it, but rather that of hosting it as something foreign in order to enrich the target horizon.

L'étude du sanctuaire de Puliyampatti permet d'aborder deux questions : d'une part, l''indigénisation' des pratiques catholiques en Inde et, d'autre part, la gestion des troubles psychogènes dans les sociétés caractérisées par un pluralisme médical et des cultes de possession. Le lien entre ces deux domaines est réalisé grâce à saint Antoine de Padoue. En Inde du Sud, ce saint portugais détient les fonctions de divinité de lignée et possède la faculté d'exorciser. Cette double spécialité se traduit à Puliyampatti par la présence de pèlerins et de patients qui exécutent un certain nombre de gestes dévotionnels et rituels inspirés de l'hindouisme. Si le clergé tolère ces pratiques religieuses, en revanche, il se montre critique vis-à-vis des exorcismes. Les rituels d'exorcisme instaurés à Puliyampatti sont informels et rigoureusement observés par les familles qui accompagnent les patients suspectés d'être possédés ou victimes d'un maléfice. La parentèle détient un rôle central dans le processus thérapeutique. Ayant elle-même déterminé que, au regard des événements biographiques et/ou des diagnostics médicaux, les troubles étaient sans nul doute d'origine surnaturelle, elle exerce sur le patient pressions et sévices dans le but qu'il manifeste la possession, preuve même de la justesse du diagnostic. Selon la nature des troubles, le patient peut se plier à sa volonté et cette première expérience marque le commencement d'une longue série de possessions de plus en plus fréquentes et violentes.

Ce mémoire porte sur le rôle des divinités dans la structure dramatique de la tragédie en musique Idoménée d’Antoine Danchet et d’André Campra, originalement créée en 1712 et remaniée en 1731. L’étude répond à des questions d’ordre structurel quant à l’évolution du genre et montre de quelle façon la représentation des dieux dans Idoménée est liée à une ouverture formelle qui annonce la disparition du prologue, puisque les divinités n’y sont plus confinées à une fonction de louange du roi, mais contribuent activement à lancer l’action dramatique dès cette partie liminaire de l’opéra. Par un bref aperçu historique de la tragédie lyrique et des traditions mythologiques se rapportant à Vénus et à Neptune, ce mémoire questionne la place de ces dieux dans l’univers des hommes, tel que l’envisage la tragédie lyrique, qui démontre, comme on le sait, une propension à unifier les mondes surnaturel et humain. Dans Idoménée, cette unification passe en grande partie par l’usage d’un prologue qui fait office de premier acte, en assurant aux divinités en question une fonction essentielle à la structure dramatique. / This essay focuses on the deities’ role in the dramatic structure of Antoine Danchet and André Campra’s Idoménée, a tragédie en musique originally written in 1712 and rearranged in 1731. This research raises questions about the evolution of this particular genre while aiming to show how the representation of the Gods in Idoménée is linked to a formal opening which announces the disappearance of the prologue during the 1740s, as the deities are no longer used to solely praise the king but actively contribute to start off the dramatic effect as early as this opening part of the opera, thus giving a new function to the prologue. Through a brief historical overview of the French opera genre known as tragédie lyrique and of the mythological traditions linked to Venus and Neptune, this essay questions the place of these two deities in the human universe as envisioned by the tragédie lyrique which, as it is well known, tends to unify the supernatural and human worlds. In Idoménée, this unification mostly occurs through the use of a prologue, which also forms the first act of this drama, giving the deities in question an essential role in the dramatic structure of the opera.

A revision of the author's thesis, Heidelberg. / Includes bibliographical references.

No description available.

ix, 288 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / While the impact of Darwin's theory of evolution on Victorian and modernist literature has been well-documented, very little critical attention has been paid to the influence of Lamarckian evolutionary theory on literary portrayals of human progress during this same period. Lamarck's theory of inherited acquired characteristics provided an attractive alternative to the mechanism and materialism of Darwin's theory of natural selection for many writers in the late-nineteenth and early-twentieth centuries, particularly those who refused to relinquish the role of the individual will in the evolutionary process. Lamarckian rhetoric permeated an ideologically diverse range of discourses related to progress, including reproduction, degeneration, race, class, eugenics, education, and even art. By analyzing the literary texts of Olive Schreiner, G.B. Shaw, and W.B. Yeats alongside their polemical writing, I demonstrate how Lamarckism inflected these writers' perceptions of the mechanism of human evolution and their ideas about human progress, and I argue that their work helped to sustain Lamarck's cultural influence beyond his scientific relevance. In the dissertation's introduction, I place the work of these three writers in the context of the Neo-Darwinian and Neo-Lamarckian evolutionary debates in order to establish the scientific credibility and cultural attractiveness of Lamarckism during this period. Chapter II argues that Schreiner creates her own evolutionary theory that rejects the cold, competitive materialism inherent in Darwinism and builds upon Lamarck's mechanism, modifying Lamarckism to include a uniquely feminist emphasis on the importance of community, motherhood, and self-sacrifice for the betterment of the human race. In Chapter III, I demonstrate that Shaw's "metabiological" religion of Creative Evolution, as portrayed in Man and Superman and Back to Methuselah , is not simply Bergsonian vitalism repackaged as a Neo-Lamarckian evolutionary theory but, rather, a uniquely Shavian theory of human progress that combines religious, philosophical, and political elements and is thoroughly steeped in contemporary evolutionary science. Finally, Chapter IV examines the interplay between Yeats's aesthetics and his anxieties about class in both his poetry and his 1939 essay collection On the Boiler to show how Lamarckian modes of thought inflected his understanding of degeneration and reproduction and eventually led him to embrace eugenics. / Committee in charge: Paul Peppis, Chairperson, English; Mark Quigley, Member, English; Paul Farber, Member, Not from U of O; Richard Stein, Member, English; John McCole, Outside Member, History