Thesis--Wisconsin. / Vita. Includes bibliographical references (leaves 253-258) and index.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1957. / Typescript. Abstracted in Dissertation abstracts, v. 17 (1957) no. 10, p. 2272-2273. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 326-335).

Thesis (M. A.)--Florida State University, 2006. / Advisor: Tatiana Flores, Florida State University, College of Visual Arts, Thetre and Dance, Dept. of Art History. Title and description from dissertation home page (viewed June 8, 2006). Document formatted into pages; contains viii, 94 pages. Includes bibliographical references.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em História, Florianópolis, 2015 / Made available in DSpace on 2015-09-22T04:08:29Z (GMT). No. of bitstreams: 1 334513.pdf: 2110577 bytes, checksum: 267858f3db75bd918beb68392ce5722f (MD5) Previous issue date: 2015 / O presente trabalho analisa os discursos sobre identidades e memórias na cidade de Antônio Carlos/SC, com período datado entre 1980 e 2014. A cidade, que começou a ser ocupada no ano de 1830 por imigrantes alemães/ãs, vindos/as de São Pedro de Alcântara, tem se apropriado no tempo presente de diferentes discursos sobre seu passado numa tentativa de revalorizar a cultura local, afirmando identidades e memórias ?alemãs? como marcos característicos de toda a população. Para a pesquisa foram elencadas fontes históricas de produções diversificadas, dentre elas Leis, livros memorialísticos e de receitas, jornais online e portais institucionais, publicidade em torno das festas e entrevistas. O estudo com essas fontes possibilitou compreender o que é dito e não-dito na cidade, onde histórias que reafirmam esse passado de imigração, juntamente com a ideia de um povo forte e trabalhador, vem sendo escritas e reescritas, dando novos significados ao ser ?alemão? na região local.<br> / Abstract : The present study analyses the discourses about identities and memories in the city of Antônio Carlos/SC, in the period between 1980 and 2014. The city, which started to be occupied in 1830 by German immigrants from São Pedro de Alcântara, has appropriated itself in the current time many discourses about its past in an attempt to revaluate the local culture, asserting ?German? identities and memories as a characterisc of all population. To this research were listed historical sources from diversified productions, among them are laws, memory books and recipes, on-line news and institutional websites, publicity about festivities and interviews. The study with these sources made possible to comprehend what is said and not-said in the city, where the stories that reaffirm this migratory past along with the idea of strong and hard-working folk, are being written and rewritten, originating new meanings to be ?German? in the local region.

Made available in DSpace on 2016-08-29T11:03:35Z (GMT). No. of bitstreams: 1 tese_4536_Maria_Amélia_Dalvi.pdf: 2594546 bytes, checksum: fed8c5e1c316ff5359281593e967168a (MD5) Previous issue date: 2010-09-03 / Este trabalho se ocupa da invenção de Carlos Drummond de Andrade como o primeiro grande poeta público do Brasil, a partir da veiculação reiterada de estereótipos poéticos e literários, quer pela crítica especializada e pela historiografia que engendra, quer, principalmente, pelo livro didático de ensino médio. Caracteriza-se como uma pesquisa de cunho bibliográfico-documental, cuja principal fonte é escrita e impressa. Sua orientação teórica concerne à História Cultural de matriz francesa, dialogando especialmente com alguns conceitos próprios ao pensamento de Roger Chartier (objeto cultural, representações culturais, práticas culturais, comunidades de interpretação e apropriação). Toma como corpus de trabalho um dos livros didáticos selecionados e bem avaliados pelo Programa Nacional do Livro para o Ensino Médio (PNLEM), na edição de 2008, para o ano letivo de 2009, a saber, Português: Linguagens, de William Roberto Cereja e Thereza Cochar Magalhães. Conclui que é no mínimo curioso que se aceite como um dos melhores livros didáticos brasileiros (ou seja, um dos mais bem avaliados pelo PNLEM) para a formação do leitor literário de nível médio obra na qual um autor paradigmático de nossa experiência coletiva, no caso, Carlos Drummond de Andrade, seja apresentado de modo fragmentado e sensivelmente interessado, desarticulado de toda a sua importância como um pensador politizado de cultura, pois a imagem que lhe foi decalcada não corresponde às intenções de uma poesia corrosiva, incessantemente metalingüística, autofágica e autocrítica, que problematizou de modo evidentemente provocativo alguns dos pilares da vida brasileira: a religiosidade (em opção explicitamente atéia), a família, a infância, a idéia de nacionalidade, o corpo e o gozo, o bom-gosto burguês médio, o beletrismo e o bacharelismo. Além disso, entende que a representação da sociedade (e, conseqüentemente, da literatura e dos autores e obras nacionais) construída pelos livros e manuais didáticos corresponde, na realidade, a uma reconstrução, que tende mais a apresentar a sociedade (e a literatura, seus autores e obras, seus leitores) do modo como que se gostaria que ela fosse do que do modo como ela é; defende, pois, que investigar o Drummond reconstruído (ou seja, construído a partir da construção de sua figura autoral) pelos livros didáticos permite supor que literatura, que autores, que obras e que leitores a sociedade e, assim, a escola gostariam de ter, a despeito daqueles que efetivamente têm. No entanto, esta pesquisa não quer pressupor a demonização do livro didático, pois entende que o manual escolar pode ser um espaço de rasura: não se pode prever ou controlar a apropriação que dele se faz; nesse sentido, ainda que com as lacunas todas já fartamente apontadas pela produção acadêmica na área, o livro didático de língua portuguesa e literatura para o ensino médio pode ser apropriado ativamente, pode fomentar a errância, legitimando a autoria e estimulando a autonomia do leitor.

Made available in DSpace on 2014-06-12T18:37:37Z (GMT). No. of bitstreams: 2 arquivo8319_1.pdf: 709015 bytes, checksum: c34593ac8a00270bc3e11d2b6486e026 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2004 / Criação humana, a cidade contrapõe-se à natureza. Fenômeno cultural, exerce influência direta na vida de seus habitantes, nativos ou de adoção. É através de sua arquitetura, do traçado de suas ruas que gerações passam às seguintes seu modo de pensar e sua concepção de mundo. Espaço de troca por excelência, a cidade exerce tamanha atração sobre os indivíduos que extrapola qualquer tentativa de compreensão racional. Tal qual o útero materno, a cidade confere ao indivíduo segurança e proteção, conferindo a cada um a própria identificação e diferenciação da totalidade. Dessa forma, pode-se compreender a cidade como um lugar fundante para o ser humano. A relação entre a pessoa e o espaço em que vive é tão intensa quanto primordial, com repercussões psíquicas profundas. Segundo Octavio Paz, a crítica do estado de coisas reinantes é iniciada pelos escritores. A primeira metade do século XX testemunhou um verdadeiro bota-abaixo dos antigos bairros recifenses, provocando um mal-estar generalizado. Os jornais da época registraram toda a polêmica daí gerada: poetas, romancistas, cronistas, sociólogos condenando tanta insensatez. Carlos Pena Filho surge, como poeta, nesse período de turbulência e sente necessidade de escrever sobre sua cidade, sobre o Recife que ele vê, sente, percebe. Talvez como uma tentativa de se reconhecer entre aquelas edificações, ou melhor desedificações , de preservar sua identidade no meio dos escombros. Através do poema Guia Prático da Cidade do Recife , Pena Filho sintetiza essa busca

This thesis is basically a study of William Carlos Williams' Paterson, with emphasis on Book Five, the final completed book of the poem. Because Williams is repeatedly concerned with the Unicorn tapestries in Book Five, much attention is given to them, and the rest of Book Five is seen as complementary to this central metaphor. And because this metaphor is a restriction to the essentials, or what Williams calls "by multiplication a reduction to one," the thesis is largely involved in interpreting the implications of this metaphor, developed and determined by the context of the rest of the poem. Previously, most critics have either treated Paterson V as a postscript to Paterson I-IV, or have dismissed the book by stating in general terms that Williams in Book Five takes Paterson into the realm of the Imagination. In either case, a detailed analysis of Book Five has been avoided. This thesis attempts such an analysis, in order to reveal that Paterson V is not a postscript to the rest of the poem, but its culmination. Though Book Five is in a sense in a different realm from the first four books, the transition from the realm of life to that of art is not only foreshadowed by the former books, but is also the means of solution to the Paterson dilemma, struggled with and developed in Paterson I-IV, but never crystallized. This occurs in Book Five, where the Unicorn tapestries are the metaphoric "hub" of the crystallization. Though the dilemma involves both Paterson the man and city, it is mostly concerned with Paterson the poet, and his manifestation, the poem Paterson. Hence the dilemma is to a large extent autobiographical. Paterson's problem is Williams' problem: the necessity of transforming the poet's life quest, with all its implications, into a culminatory work of art. To this basic problem must be added several crucial obstacles. The first is that of approaching death. By the end of Book Four, Paterson has reached the end of his life course. Williams, in the year of Book Four's publication, has had several crippling strokes. In other words, Williams' life, like Paterson's, may soon be terminated, and thus the work of art may never be created. Secondly, Williams' work of art must include the processes of art and life, as well as their products. Without process, the product will stagnate, and without product, the process will remain a confused delirium. In this sense, Book Five becomes the product of the processes involved in Paterson I-IV, the product that clarifies both the poet's quest and his poetics, saves both Williams and Paterson from meaningless death, and gives the poet impetus to continue his craft. Intrinsic to the union of process and product is the union of life with literature, the poetic with the anti-poetic, and the Dionysian aspect of creation with that of the Apollonian. In Paterson, these turn out to be the "inter-penetrating realities" that the poet seeks to unite throughout the poem. The following analysis attempts to reveal how the union does symbolically or metaphorically occur, how the various disparate forces in the poem become embodied in a complex but harmonious whole, and why this union, as portrayed in the Unicorn tapestries, does succeed, where similar earlier attempts had failed / Arts, Faculty of / English, Department of / Graduate

This thesis seeks to identify the philosophical arguments behind William Carlos Williams' constant attack upon accepted patterns of thought, behaviour and art. The first chapter outlines Williams' belief in the necessity of a continual process of renewal in order to prevent traditional approaches to experience from decaying individual perception into unconscious habits of preconception. The thesis then debates the possibility and value of pure perception in contrast to preconception, of objectivity in contrast to subjectivity, of the need for artistic impartiality to prevent biassed perception. This line of inquiry develops into a discussion of Williams' doctrine of change as essential to clear perception: Williams' advocation of the new, of the perception of present, local reality is a struggle against the traditional habitual concentration upon the past, the foreign and upon future abstractions. By Chapter Four, the thesis has evolved into a detailed inspection of the poetic techniques necessary for the clarifying expression of a continually renewed awareness. An attempt is made to show how poetry must change to keep reflecting a changing reality that is perceived now as a world of process rather than as a static and definable quantity. Underlying the whole thesis is the central interpretation that Williams' objection to established doctrines is a rejection of that tradition of man's egotistical aloofness from the ground and of his urge to control nature by destruction which has alienated him from his consciousness of his environment and from his source of. self-discovery. The second half of the thesis tries to reveal the poem Paterson as the assimilation of Williams' organic philosophy in a poetic form whose construction releases beauty from its abstraction in the mind into a living sentient experience. The thesis evolves towards an attempt to reveal Williams' call for man to rediscover a primal awareness of himself through an interpenetration with nature, a sympathetic appreciation of and yielding to the unopposed objects of his environment. The method of approach used is apocalyptic, rather than purely analytical. / Arts, Faculty of / English, Department of / Graduate

The thesis is, that the dance, as metaphor and as ordering function, is central to an understanding of William Carlos Williams' poetry and of his activity as poet. The first chapter, which is a ground for what follows, begins with a close examination of "The Rose" from Spring and All as a demonstration of some of Williams' basic principles concerning the act of making the poem. My emphasis is on what one can observe happening in the poem itself, the poem as enactment or dance. I then proceed to examine the prose passages from Spring and All as statement of those principles, in order to establish the meaning of some terms, imitation, engagement, imagination, as Williams uses them "both as theory in the prose descriptions and as actuality in the poems. The second chapter deals with the notion of dance as alternative to description, the action or enactment in a poem, which Williams calls imitation. I attempt to show what dance is, the metaphor of it, and how it might manifest itself in (as) language, that is to say, the energy of the poem as dance. Then, in the light of several poems included in the text of the chapter, I discuss imitation in terms of composition and invention, what Williams considers the basic activities of the poet in the making of a poem. The third chapter deals with the act of engagement as dance, to engage in an activity, making love or writing a poem. I attempt to show, by reference to several of Williams' short stories and to In the American Grain, as well as to the poems, some of the kinds of perceptions and awareness that are characteristic of this kind of engagement, and how they shape the poem; and, in the end, to come to an understanding of what Williams means by penetration. In the fourth chapter, measure as dance, I examine some of Williams' ideas and practice in the rhythm and form of the poem, to show how measure is the shape the dance assumes, and how Williams resolved some of his own difficulties concerning the problem of measure. And the chapter concludes with a restatement of, and an insistence upon, the importance of the metaphor of dance. My purpose has not been to attempt a historic analysis or evaluation of Williams as critic and theorist, or as poet – though the fact of the thesis does imply certain judgements of value, and the text of it is, to some degree, analytical -- but to demonstrate and elucidate, by making the dance a basis for my discussions, some of Williams' primary concerns as poet. My emphasis, then, has not been on the views and theories of other critics, not on chronological developments in the poems themselves, but on the facts of the dance, immediate and actual. / Arts, Faculty of / English, Department of / Graduate

Orientador: Etienne Ghislain Samain / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-13T22:19:54Z (GMT). No. of bitstreams: 1 Tank_NizadeCastro_D.pdf: 9092474 bytes, checksum: 8d5ddf2c9f78f603bed52c4156de2612 (MD5) Previous issue date: 1989 / Resumo: Não informado / Abstract: Not informed. / Doutorado / Doutor em Música