Thesis (M.A.) - Carleton University, 2005. / Includes bibliographical references (p. 131-135). Also available in electronic format on the Internet.

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This project seeks to unpack and moderate the postmodern debate surrounding James Joyce's 1922 novel, Ulysses, by examining how the text responds to global-local dichotomies, be they geographical or conceptual, and considering its stylistics in light of these themes. In doing so, it casts the likes of Laurence Sterne, Walt Whitman, Joseph Conrad, Gertrude Stein, John Cage, Robert Rauschenberg, Bob Dylan and Kurt Vonnegut, among others, alongside Joyce, connecting similar themes and stylistic responses. Ultimately, it suggests that the avant-garde response on the part of Joyce and these others is not necessarily a manifesto bolstering the style, but a reminder to the interpreter to not take the ability of traditional narrative to subsume the surprisingly complex local moment of experience as given. Instead of being "anti-art," as these avant-garde stylistics are often accused of, these aesthetics place new value on the old aesthetic and the act of interpretation, asking the interpreter to perennially re-evaluate the old and given amid the continuously new and complex local moment of experience resulting from the convergence of contrast brought on by the dynamically mapped globe in the process of globalization.

Orientador: Mauricio Chalfin Coutinho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Economia / Made available in DSpace on 2018-08-23T03:25:44Z (GMT). No. of bitstreams: 1 Loureiro_PedroMendes_M.pdf: 3728498 bytes, checksum: c0fdc61b9b9518ae171e0f867839bd64 (MD5) Previous issue date: 2013 / Resumo: Encaminha-se com este trabalho uma discussão do pensamento de Bob Jessop, focada na transição que propõe para a forma estatal contemporânea e em sua compreensão da relação entre o econômico e o político. Com vistas a tanto, primeiramente se apresenta de maneira esquemática como o autor entende a conformação tendencial do Schumpeterian workfare postnational regime (SWPR) a partir da crise do fordismo e de sua forma estatal, o Estado nacional keynesiano de bem-estar (ENKBE). Em seguida, apresenta-se o processo de construção teórica de Jessop e suas principais posições metateóricas, para então propor leitura de sua obra que destaca como o autor constrói uma compreensão crescentemente complexa da relação entre o político e o econômico. Vê-se como um ponto central nisso a recusa de tomar por dada a unidade substantiva de seguidas dimensões das formações sociais, a exemplo do poder de Estado e das formas da acumulação de capital. Neste processo, o autor mobiliza cada vez mais numerosos conceitos estratégicos de grau de abstração intermediário a indicar a possiblidade contingente de garantir-se tal unidade. Interpreta-se, igualmente, que as reformulações que leva a cabo são centralmente motivadas pela tentativa de evitar o politicismo. Feito isso, cobrem-se debates recentes relacionados à transição do ENKBE para o SWPR, bem como se discutem certas agendas de pesquisa associadas ao tema. Por fim, apresenta-se reavaliação da proposta de transição de Jessop sob a luz da evolução teórica do próprio autor e das questões que emergem dos debates contemporâneos. Sugere- se que as críticas de funcionalismo, estruturalismo e determinismo econômico que lhe foram dirigidas podem ser evitadas se feita referência a sua obra mais ampla. Neste sentido, argumenta se que sua narrativa da emergência da forma estatal contemporânea pode ser melhor apreciada se vista como parte de uma agenda de pesquisa em aberto, que necessariamente deve transitar entre dimensões abstratas-simples e concreto-complexas. Indicam-se também algumas reorientações que se consideram mais frutíferas, nomeadamente: i) estudar o pós-fordismo no quadro de um "capitalismo variegado"; ii) desenvolver explicitamente um quadro teórico evolucionário para a interpretação da relação entre o político e o econômico; e iii) enxergar a articulação entre as diferentes formas do capital sob um único regime de acumulação a se desenvolver em cada tempo e espaço, e não através de regimes concorrentes / Abstract: We herein discuss the work of Bob Jessop, focusing on the transition he proposes to the contemporary state form and on his understanding of the relationship between the economic and the political. In order to do so, we first schematically present how the author suggests that the Schumpeterian workfare post-national regime (SWPR) tendentially emerges out of the crisis of Fordism and its state form - the Keynesian welfare national state (KWNS). We then present Jessop's theory-building process and his main meta-theoretical positions. Following this, we propose a reading of the author's works that highlights how he develops a growingly complex understanding of the relationship between the economic and the political. A central point in this regards how he successively comes to deny the a priori substantive unity of various aspects of social formations, such as state power and the forms of capital accumulation, while in the same process mobilising an ever-greater number of middle-range strategic concepts that indicate the contingent possibility of securing such unity. We also suggest that most of Jessop's theoretical shifts and reformulations in this dimension are fundamentally motivated by attempts at avoiding politicism. Having done so, we cover recent debates and research agendas related to the transition from the KWNS to the SWPR. We finally reassess Jessop's proposed transition in light of his own theoretical evolution and of the issues that emerge from the contemporary debates. We suggest that the critiques some authors have voiced of functionalism, structuralism and economic determinism might be avoided if one refers to Jessop's oeuvre as whole. In this sense, we propose that the latter's account of the emergence of the current state form can be better appreciated if seen as part of an open research agenda, which must spiral through abstract-simple and concrete-complex levels. We also propose some shifts to this agenda, namely: i) to investigate post-Fordism in the framework of a 'variegated capitalism'; ii) developing an explicitly evolutionary theoretical approach to the relationship between the economic and the political; and iii) to study the articulation of the different forms of capital under a single regime of accumulation in each space and time, and not through competing regimes / Mestrado / Teoria Economica / Mestre em Ciências Econômicas

Utgångspunkten för detta examensarbete var att utveckla en kompositionsmetod med utgångspunkt i en tavla för att skapa en ”simulerad synestesi”. För att skapa kompositionsmetoden har tonsättare med synestesi intervjuats samt har en undersökning om hur en grupp människor tittar på en tavla utförts. Ursprungligen så fanns det bara en vilja hos mig att komponera ett stycke baserat på en tavla tillsammans med en nyfikenhet kring fenomenet synestesi. Under examensarbetets gång har kompositionsmetoden samt undersökningen utformats. Detta resulterade i ett två komponerade stycken och båda styckena utgick ifrån varsin synestesi.

En quoi la création et l'(auto-)destruction peuvent-elles agir dans un même processus ? Comment un cinéaste, auteur de seulement cinq flms, a-t-il réussi à imposer sa vision esthétique et narrative du cinéma ? Mettant en perspective la vie et l'œuvre de Robert Louis Fosse, dit Bob Fosse, ce travail pose la question du lien qui se crée entre la création et l'(auto-)destruction dans le cinéma fossien. Cette création trouve ses origines dans une forme classique de cinéma et dans l'utilisation de thématiques "populaires". L'(auto-)destruction, quant à elle, offre la nouveauté : elle permet de toujours recréer et de ré-construire. Il se dégage alors une dynamique qui conduit au constat que les deux concepts, la création et l'(auto-)destruction, ont toujours co-existé dans le travail de Bob Fosse. S'opposant à l'idée des esthéticiens spécialisés dans l'étude d'œuvres picturales et cinématographiques, ce travail assume son caractère psychobiographique. Ce procédé apparaît comme le seul, juste et efficace, permettant de mener à bien l'étude de cet artiste qui pensait que vie et spectacle ne faisaient qu'un. / How can creation and (self-)destruction act in a same creative process ? How could a flm director, who made only fve flms, manage to impose his aesthetic and narrative vision of cinema ? Putting into perspective the life and work of Robert Louis Fosse, also named Bob Fosse, this work asks the question about the link that is established between creation and (self-)destruction in Fosse's cinema. Creation fnds its roots in a classical form of movie-making and the use of "popular" themes. (self-)destruction offers novelty : it enables to always re-create and re-construct. Emerges then a dynamic process that leads to establish the fact that both concepts, creation and (self-)destruction, have always co-existed in the work of Bob Fosse. In contrast to critics specialized in the study of pictorial and cinematographic works, this study accepts its psychobiographical character. This way of doing appears as the only just and effcient way of dealing with the study of an artist who thought that life and show made only one.

The thesis is concerned with the substandard expressions of parts of the face in the French language, specifically with the synonyms of mouth, eyes, ears and nose. The theoretical part deals with the definition of slang in general, its history and word formation processes. The practical part presents synonyms of the given parts of the face, which are in the dictionary of slang Dictionnaire avec Bob and also introduces their occurrence in four French slang dictionaries, for example Argoji, and in four reference dictionaries, for example Le Petit Robert, where it compares their lexicographic marking. The thesis further deals with etymology of the synonyms and their Czech equivalents which examines in the parallel French-Czech corpus Intercorp. Last but not least, a questionnaire is implemented, which verifies the knowledge of the most frequent synonyms among native speakers of the French language. In conclusion, the thesis summarizes whether lexicographic marking differ from one reference dictionary to another and presents the most frequent synonyms and results of the questionnaire. Key words: lexicography, lexicographic marking, substandard French, dictionaries, face, Bob