Thesis--Zürich. / Curriculum vitae. "Bibliografia": p. [106]-106.

Thesis (D. Mus. Arts)--University of Washington, 2000. / Vita. Includes bibliographical references (leaves 163-165).

The study of supernatural beliefs has been a major field in anthropology throughout its history. The study of paranormal experiences as such, however, has been largely left for folklorists to handle. This paper is an attempt to study the genesis, structure and interpretative schemes of narratives of paranormal experiences, specifically ghosts and hauntings, so that through the figure of the ghost (our perception of it, the ways in which we interact with it, how we read it and then talk about it) core experiences that turn non-believers into believers and believers into collectivities can become visible. Because experience is, for those who are said to have had paranormal encounters, what turns beliefs (or disbelief) into certainties, I have focused on theories that set experience and individual constructions of reality at the center of the actor-structure relation. My main purpose is to explore people’s narratives of alleged paranormal occurrences as they develop from individual experiences to cultural systems of legitimized meanings, in order to understand the processes that dynamically link micro and macro levels. I contend that a deeper understanding of all elements involved in the production of the personal-collective will further the development of better analytical tools to study the broad spectrum of cultural matter that escapes formal inquiry due to an old-yet-still-predominant divide between the objective and subjective, concrete and abstract, material and immaterial, public and private -dichotomies that lie at the very core of social and cultural theory. Through compelling analyses of ethnographic accounts on ghosts and the haunted I seek to reformulate the premises on which we understand this dilemma.

José Manuel Caballero Bonald est aujourd’hui une véritable référence dans le monde littéraire hispanique du XXe siècle. Ayant excellé tout au long de son parcours dans des genres aussi variés que la poésie, l’essai, le roman et l’article de presse, il a obtenu les plus grandes distinctions, notamment le Prix Cervantès (2012).Cette étude s’articule autour de trois parties. Dans la première, « Le dialogue entre les arts », nous proposons une approche de la problématique de la multidisciplinarité de l’art à partir de l’analyse de l’œuvre critique et littéraire de notre auteur. Nous observons d’abord le contexte historique et sociologique des différents domaines de l’art qui le concernent, pour ensuite présenter une vision holiste de sa pensée esthétique et philosophique en relation avec le phénomène artistique. Cette démarche nous permet de nous interroger précisément sur la question des limites structurelles et sémantiques qui rapprochent et séparent la littérature de la musique.Nous nous penchons dans une deuxième partie, « Poétique musicale », sur la définition des aspects musicaux de sa poétique en relation avec le concept de la musicalité de la parole. L’aspect sonore de son œuvre, qu’il soigne d’une façon minutieuse, se construit en harmonie avec ses sources primaires et avec les mouvements littéraires qui traversent son écriture. Dans la pensée de Caballero Bonald, la construction musicale du texte est en intime relation avec son expérience vitale, avec sa mémoire, ainsi qu’avec toutes les résonances qui traversent son esprit. L’image de l’écoute intérieure qui précède l’écriture rapproche son acte créatif du processus de création musicale. C’est à travers l’ensemble de ces notions que nous rassemblons et que nous étudions des fragments choisis de son œuvre : extraits et poèmes où la suggestion, l’évocation, et d’autres procès issus de l’esthétique sonore, les rapprochent indéniablement du langage musical. D’autre part nous abordons, à partir de l’étude de la sonorité de son œuvre, la problématique des genres et d’autres débats convergents issus de la théorie de la littérature, qui opposent des concepts comme tradition/expérimentation, oralité/écriture ou poésie/prose.Enfin notre dernière partie, « La musique dans son œuvre », est consacrée à l’étude de la présence de la musique dans ses écrits, en particulier ceux s’intéressant au flamenco, d’un point de vue thématique et symbolique. La musique est présente, sans exception, dans tous ses romans et dans tous ses livres de poésie. Parmi toutes ces musiques, l’art flamenco occupe une place privilégiée dans son œuvre. À partir de la relation féconde entre littérature et flamenco, que l’on découvre tout au long de ses romans et poèmes, nous proposons une révision de la poétique de « lo jondo », et des relations entre la poésie savante et cette forme authentique de poésie de tradition orale. Parallèlement à sa sensibilité musicale, nous étudions la présence du silence et des paysages sonores dans son œuvre en tant que symbole et comme outil rhétorique. L’ensemble des symboles musicaux qui traversent son œuvre nous dévoilent quelques questions essentielles pour les études musico-littéraires, que nous abordons à travers sa pensée poétique et philosophique : vers et musique se mêlent-ils ? Comment définir l’amplitude sonore de la musique ?En dernier lieu, et pour apporter une réponse à ces questions, nous nous rapprochons du caractère mélomane de José Manuel Caballero Bonald, marqué par sa trajectoire professionnelle en tant que producteur musical, parolier, anthologiste du chant flamenco et folkloriste. Si l’influence de la musique dans son œuvre littéraire justifie en grande partie sa conception holiste de l’art, sa poétique musicale et ses incursions dans le milieu professionnel de la musique nous renvoient vers un échange ambivalent qui justifie la nature comparatiste et multidisciplinaire de notre étude. / José Manuel Caballero Bonald is one of the greatest Spanish writers of the 20th and the 21st centuries. His works have been awarded the most important prizes of Hispanic literature. He is also one of the last members of the Generation of ‘50, also known as "The kids of the war".This study is divided into three chapters. The first, "The Dialogue Between the Arts", offers a general approach to the multidisciplinary of the arts, in connection with Caballero Bonald’s critical articles and pieces of literature in which he emphasises this point. The chapter examines the historical and sociological context of the concept of intersemiotics to understand the way artistic domains figure in his writings. It also explains his holistic vision of the arts, his aesthetic thinking and his philosophy. From the perspective of intersemiotics, this enables the analysis of the structural and semantic limits that join and divide literature and music.The second chapter, "Musical Poetics", studies the musical aspects of his poetics, specifically in relation to the idea of musicality of the word. The musical side of his work, which is always meticulously composed, is built in harmony with his primary sources and with the literary movements that can be perceived in his writings. In Caballero Bonald’s thinking, the musical construction of the literary text is intimately related with his life experience, his memory, and all the resonances crossing his mind. The image of the inner ear as the source of the poetic word, which harks back to the mystical poetry of the Spanish Golden Age, brings his act of creation closer to the nature of music, which is built on a similar principle. On this basis, the chapter offers a close reading of several extracts from his works: fragments and poems in which suggestion, evocation, and other proceedings derived from the aesthetic of sound get him genuinely closer to the musical language. In this way, without leaving the borders of literature and music, the chapter examines, starting from the study of the musicality of his writings, the problematic of gender and other issues concerning literary theory, such as the opposition of tradition and experimentation, orality and writing, or poetry and prose.The last chapter, "The Music in his Works", is devoted to the study of the presence of music in his writings from a thematic and symbolic perspective. Music is mentioned in every single novel and book of poems he has published. Among the different music genres he mentions, flamenco undoubtedly plays the leading role in his writings, modernising the relation with scholarly literature that started around the 15th century. In this way, the chapter examines his "Poética de lo jondo", and reconsiders the relationship between scholarly literature and this original form of oral tradition. Given his musical sensitivity, the chapter also studies the presence of silence and the soundscapes in his works. The large number of musical symbols in his writings invites us to think about some of the main questions referred to by the emergent fields in the intersections between literary and musical scholarship. The chapter answers some questions through his poetic and philosophical thinking: Can verse and melody become the same thing? How could we define the sounding range of music?Finally, having answered the above-mentioned questions, this PhD thesis explores the evidence attesting to José Manuel Caballero Bonald as a cultivated person within musical culture. This evidence is mainly embedded in his professional work as music producer, songwriter and folklorist. It is the influence of music on his writings that has been studied in detail in this thesis and, in fact, justifies his holistic conception of art. His musical poetics and his incursions into the professional environment of music reveal an ambivalent exchange between them that justifies the comparative and multidisciplinary nature of this study.

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves [242]-256). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves [242]-256). Also available on the Internet.

Proefschrift--Faculteit der wiskunde en natuuwetenschappen en die der geneeskunde--Universiteit Leiden, 2004. / Résumé en anglais et néerlandais. Bibliogr. p. 157-176.

Avaliou-se a composição florística, a estrutura e a regeneração de Araucaria angustifolia (Bertol.) Kuntze do Parque Provincial Cruce Caballero, que se constitui na unidade mais representativa com a citada espécie na Argentina. Foram alocadas 82 parcelas (10 x 20 m), distribuidas em três compartimentos pedológicos: Latossolo Vermelho (54 parcelas), Neossolo Litólico (20 parcelas) e Gleissolo Melânico (8 parcelas). O primeiro compartimento tem solos profundos, diferente dos demais que possuem pequena profundidade efetiva. O Neossolo Litólico com alta pedregosidade e o Gleissolo Melânico tem lençol freático quase na superficie. Foram avaliados todos os indivíduos arbóreos com mais de 4,8 cm de DAP. Registraram-se no total 116 espécies nos três compartimentos, sendo 28 exclusivas do Latossolo Vermelho, 18 do Neossolo Litólico e 6 do Gleissolo Melânico. As maiores alturas totais e diâmetros foram encontrados no compartimento Latossolo Vermelho e a maior densidade total sobre o Neossolo Litólico. A estrutura horizontal tem diferenças entre os três compartimentos, tendo como característica comum uma notável redução de densidade de árvores de grande porte. Na floresta sobre Latossolo Vermelho, os descritores estruturais denotam uma distribuição bastante eqüitativa das principais espécies, destacando-se como principais Sorocea bomplandii, Cabralea canjerana, Ocotea lancifolia, Araucaria angustifolia e Apuleia leiocarpa. Sobre o Neossolo Litólico há poucas espécies que repartem o espaço horizontal: Actinostemon concolor e Trichilia claussenii. No compartimento Gleissolo Melânico o espaço horizontal é compartilhado por sete espécies: Parapiptadenia rigida, Alchornea triplinervia, Luehea divaricata, Erythrina falcata, Myrsine gardneriana, Nectandra lanceolata e Cabralea canjerana. A maior diversidade de espécies foi encontrada no Latossolo Vermelho, seguida no Gleissolo Melânico e por último no Neossolo Litólico. As florestas dos três compartimentos contêm uma baixa similaridade entre elas, especialmente o Gleissolo Melânico com os demais. Os compartimentos Latossolo Vermelho e Neossolo Litólico apresentam uma similaridade média entre eles. Quando avaliada a regeneração natural da Araucaria angustifolia, encontrou-se uma baixa densidade no Latossolo Vermelho, com 18,51 ind/ha, e nenhum indivíduo nos demais compartimentos. Ao comparar a floresta do parque com outras áreas de Misiones (Argentina) e do Brasil, conclui-se que a vegetação da área é única por suas características florísticas, tendo mais similaridade com Florestas Estacionais próximas de Misiones e do Rio Grande do Sul, do que com Florestas com Araucária dos estados do Paraná e do Rio Grande do Sul. Conclui-se que a área tem grande valor biológico e genético devido, sobretudo, à população de araucária em uma área de tensão ecológica e ocorrendo em solos hidromórficos.

The author of this dissertation addresses the motif of magic figuring in Spanish medieval short prose. The researched works of art are the following titles: Calila y Dimna, Sendebar, El Conde Lucanor, Libro del Caballero Zifar and Libro de los Gatos. Out of the aforementioned anthologies the author further analyses specific selected short stories which contain the motif of magic. The introduction describes medieval history and literary genres and more closely analyses the interpretation of magic on the basis of both period and current literary works and publications. Author presupposes medieval didactic literature for the most part describes real world which the reader is acquainted with. The motifs of magic are divided into five sections:Devil, Afterlife, Magical Realm, Fake Magic and Medical Superstitions. Each chapter addresses one particular topic, analyzing it in the context of the researched stories but also in the context of medieval culture as a whole. The end of each chapter offers a comprehensive summary. In contrast with publications dealing with the topic of magic in the Spanish literature, the dissertation focuses more closely on the element of magic used as trickery as this view of magic is widely represented in the literature. The conclusion discusses the issue of faith in a life of a...

Edición crítica en inglés de Palladine of England, libro de caballerías traducido al inglés por Anthony Munday en 1588 a través de su versión francesa L'Histoire Palladienne, de 1555. El libro original, ibérico y de autor anónimo, que Claude Colet tradujo al francés, es Don Florando de Inglaterra (1545). Esta edición crítica proporciona una introducción a la época, género y prácticas traductológicas de Munday; un seguimiento histórico de la obra, descripción bibliográfica, transcripción y edición del texto original con notas eruditas; y glosario, emendaciones y un apéndice de notas traductológicas.