Thesis (D.M.A.)--Ohio State University, 1984. / Includes bibliographical references (leaves 103-106).

Th. 3e cycle--Philos.--Tours, 1986.

Texte remanié de: Diss.--Philosophische Fakultät--Freiburg--Albert-Ludwigs-Universität, 1998. / Bibliogr. p. 261-277. Index.

Texte remanié de: Th. doct.--Litt. française--Paris 4, 1998. / Bibliogr. p. 335-366. Index.

Submitted by Chaylane Marques (chaylane.marques@ufpe.br) on 2015-03-09T17:50:11Z No. of bitstreams: 2 Dissertaçao Taís Leme.pdf: 1599783 bytes, checksum: 5f386111a7781e7134f2e1c1b24a7664 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-03-09T17:50:11Z (GMT). No. of bitstreams: 2 Dissertaçao Taís Leme.pdf: 1599783 bytes, checksum: 5f386111a7781e7134f2e1c1b24a7664 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2013-02-26 / CNPQ / Este trabalho consiste no estudo comparado do neobarroco nas obras Perdidos e achados, narrativa de Nova, novena (1994), de Osman Lins, e Triptyque (2006), romance de Claude Simon, novo romancista francês. Osman Lins e Claude Simon compreendiam o processo de escritura como uma luta. Luta contra a linguagem instituída e a percepção caótica que se tem do mundo. Combate que, de algum modo, representa a revolta humana contra o não-sentido, a tentativa de reunir e recriar os fragmentos dispersos da realidade em um conjunto significativo que reflita certa unidade. Contudo, não se trata de uma unidade apolínea, fechada, mas dionisíaca, barroca, que somente pode ser contemplada considerando-se os elementos apreendidos em sua totalidade, não individualmente. É, sobretudo, nesse sentido que associamos as ficções desses escritores à bricolagem, trabalho artesanal que reporta à ideia de unidade heterogênea. Além disso, a concepção de Osman Lins e de Claude Simon da escritura literária como uma atividade manual também pode ser aproximada do ofício dos bricoleurs. Ambos os escritores são marcados pela enfatização dos procedimentos de escrita em lugar da fábula, o que deixa margem para que o texto seja tomado pelo jogo lúdico contido no erotismo da linguagem, na escritura fragmentária entrelaçando-se, procurando superar a condição de descontinuidade dentro da unidade global do texto.

Orientador: Claudia Thereza Guimarães de Lemos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-24T10:26:04Z (GMT). No. of bitstreams: 1 Lima_JarbasCoutoe_M.pdf: 2177876 bytes, checksum: 3e83a7fdae1905e0f7f13fc54fb293a9 (MD5) Previous issue date: 1998 / Resumo: O objetivo deste trabalho é discutir a hipótese de Claude Lévi-Strauss no sentido de tomar-se a linguagem como condição de cultura. Parte-se do pressuposto de que a obra de Lévi-Strauss permite uma dupla interpretação relativamente a essa hipótese. A primeira delas é construída a partir do exame da referida hipótese à luz dos fundamentos teóricos que o autor importa da Lingüística Estrutural, relacionando-os à sua intenção de dar um estatuto teórico rigoroso para a Antropologia. A segunda interpretação é construída a partir do exame das noções de linguagem e cultura apresentadas em alguns trabalhos posteriores a Antropologia Estrutural, como A Oleira Ciumenta e O Pensamento Selvagem. Tais noções são relidas a partir de alguns pontos da elaboração de Jacques Lacan sobre a linguagem e da noção de estrutura em Edmund Leach / Abstract: The aim of this work is to discuss the hypothesis put forward by Claude Lévi-Strauss that language could be taken as a condition for culture. Our initial assumption is that Lévi-Strauss works allow a double interpretation relatively to such hypothesis. A first interpretation is built upon the examination of that hypothesis under the light of the theoretical principIes set up by Structural Linguistics, as well as by relating them to Lévi-Strauss's intention of giving a strict scientific status to Anthropology. The second interpretation is built upon the examination of the notions of language and culture presented by Lévi-Strauss in some of the works published after L' Anthropologie Structurale, such as La Potiere Jalouse and La Pensée Sauvage. Such notions are revised on the basis of some of the points concerning language as developed by Jacques Lacan as well as of the notion of structure present in Edmund Leach's work / Mestrado / Mestre em Linguística

The relationship between music and poetry dramatically changed in France during the nineteenth century.  Music took a prominent place in artistic life, and certain figures of the era argued for its superiority over poetry.  Richard Wagner convinced many artists of the time of the need to subsume poetry into music for the sake of creating a Gesamtkunstwerk, or a total work of art.  The result of this dialogue can best be examined by studying the relationship between the composer Claude Debussy and the poet Stéphane Mallarmé.  In response to the challenge issued by Wagner, Mallarmé argued strongly for the place of poetry.  Though he argued against Wagnerism specifically, Mallarmé admired the expressive capabilities of music, which is a constant presence in his poetry.  Debussy found his greatest source of inspiration from the poets of Mallarmé's generation.  Rather than following the example of Wagner and other Romantic-era composers, Debussy saw poets as the avant-garde, and sought to capture their poetry in his music.   Both of these figures, inspired by the relationship between music and poetry, produced very forward-thinking works, and serve as transitional figures for their respective arts.  Each using techniques inspired by the other\'s art, Debussy and Mallarmé both make use of non-traditional forms, a sense of movement, and a profound use of silence in order to best express the Ideal. / Master of Arts

No description available.

It is not by accident that virtually every important study of Debussy's life or works (including the recent and definitive biography by Edward Lockspeiser) has been made from a psychological viewpoint. The peculiar nature of the composer's art, resulting from his intimate ties with the French symbolist poets and his contacts with many other extra-musical influences, makes such an approach not only advantageous, but necessary. In this brief study of Pelleas et Melisande, the composer's only completed music drama, an attempt will be made to trace these many and varied influences, correlate them with the composer's musical style, and thus arrive at a deeper understanding of the nature of this remarkable work, along with its place in the history of the music drama. The actual study of the structure of the opera will give equal consideration to both the literary and the musical elements. As the unique quality of this work is grasped, the justification of such an approach will perhaps be verified.

Étudier l’événement historique dans l’œuvre de Claude Simon sous un nouvel angle, voilà l’objectif de cette thèse. Pour ce faire, l’analyse de l’événement historique comprend l’attente, c’est-à-dire qu’elle couvre la période qui précède l’événement en soi. Ainsi, il s’agit d’étudier la place de l’attente dans l’œuvre romanesque simonienne. Depuis un nouvel horizon d’attente exemplifié par la Révolution française jusqu’à ne plus avoir d’attentes dans l’enfer de la Deuxième Guerre mondiale, l’écriture de l’événement historique comprend aussi son attente. Et partant, l’individu est pris dans une Histoire qui le dépasse. Se concentrant sur quelques romans de Claude Simon, cette thèse analyse sur la relation entre l’attente, les événements historiques et l’écriture. Elle considère moins l’événement en soi que ce qui le précède. De l’Histoire nationale d’un pays à l’histoire traumatique d’un individu, cette thèse souligne combien l’expérience personnelle de l’événement historique est influencée par l’attente. Enfin, à travers ses romans, Claude Simon décrit la déception d’une expérience immédiate de l’événement historique, déception provoquée par une conception de l’Histoire rejetée depuis les événements abominables qui parsèment le XXe siècle. Ainsi, la représentation de l’Histoire est constamment mise en cause dans les romans de Claude Simon, ce qui nous conduit à établir une vision simonienne de l’Histoire. / Through a selection of Claude Simon’s novels, this thesis aims to consider the historical event from an innovative point of view. In order to do so, the historical event will be analysed not as something that has already happened, but as something that is still to come. In other words, if Claude Simon writes the historical event from the writing present than the period preceding the event must also be considered in this act. As such, Claude Simon describes, more often than not, the interval before the historical event, rather than the historical event itself. However, in waiting there is also an expectation that something should happen in a certain way. And yet, expectations often lead to disappointment in Claude Simon’s novels. Based on historical representations from history books and famous paintings, a certain image of history is portrayed and subsequently deconstructed. This thesis analyses the manner in which Claude Simon develops his own vision of history based on his immediate experience of historicals events. From the French Revolution to the Second World War, Claude Simon shows us how an individual is caught up in a history that he can never fully understand. Therefore, this thesis aims to show the relationship between waiting, expecting, the historical event, the individual and writing. From a shared national history to that of one individual’s traumatic experience, this thesis underlines how much the past and the present are influenced by the notions of waiting and expectation. Hence, it is through his novels that Claude Simon shares his deception, provoked by a false conception of history, since rejected after the historical events of the 20th century.