L'abstraction, la fragmentation et d'autres modes de destruction de l'image ou du discours ont caractérisé l'art de la deuxième moitié du XX siècle. L'absence d'éléments narratifs ou référentiels dans les oeuvres de cette période indique une vide de signification qui, en même temps, est expression ou manifestation du sacré. Cette recherche établit les liens entre la radicalité de ces propositions et l'expérience mystique ou l'expérience du néant. Dans ce but, nous avons analysé "Boîtes métaphysiques", de Jorge Oteiza, et "Trois leçons de ténèbres", de José Ángel Valente. / Abstraction, fragmentation, and other ways of image or speech destruction have characterized the art of the second half of the 20th century. The absence of narrative or referential elements in the artworks of this period points to a condition of absolute emptiness of meaning, which, in turn, constitutes the expression or manifestation of the sacred. This investigation is aimed at establishing links between these radical artworks (o, is prefieres, between the radicalness of these artworks) and mystic experience. To that end, I have analyzed two important works of 20th century art, namely, “Metaphysical Boxes” by the Basque sculptor Jorge Oteiza and “Three Lessons of Darkness” by the Galician poet José Ángel Valente.

Die vorliegende Arbeit umfasst drei empirische Beiträge, die der Frage nachgehen, ob und wie Helligkeit und Dunkelheit die Art und Weise verändern, wie Informationen wahrgenommen werden, Menschen interagieren oder Verhalten bewerten. Basierend auf Embodiment und Grounded Cognition-Ansätzen (Barsalou, 2008) wurde in drei Studienreihen der Einfluss von konzeptueller und perzeptueller Helligkeit bzw. Dunkelheit auf (1) die Informationsverarbeitung, (2) moralisches Urteilen und (3) Kooperation im sozialen Kontext untersucht. Die Ergebnisse demonstrieren die Bedeutsamkeit von Helligkeit und Dunkelheit im sozialen Kontext und bieten Implikationen im Verhandlungs- und Beratungskontext sowie moralischen Urteilens bei Gericht. In der ersten Studienreihe (Steidle, Werth, & Hanke, 2011) bestand das Ziel darin, die Wechselwirkung zwischen Dunkelheit, Abstraktionslevel und psychologischer Distanz zu untersuchen. Es wurde angenommen, dass die visuelle Wahrnehmung im Dunkeln weniger auf Details fokussiert ist, was zu mehr abstrakten Repräsentationen führen sollte. Basierend auf dem Grounded Cognition-Ansatz (Barsalou, 2008) wird argumentiert, dass sich die Beziehung zwischen physikalischer Dunkelheit und einem globalen perzeptuellen Verarbeitungsstil auf eine konzeptuelle Ebene überträgt. Drei Experimente demonstrierten, dass Dunkelheit im Vergleich zu Helligkeit einen globaleren perzeptuellen und konzeptuellen Verarbeitungsstil hervorrief, unabhängig davon, ob Dunkelheit geprimt oder physikalisch manipuliert wurde. Zusätzlich zeigten zwei IATs, dass Dunkelheit mit einem hohen Abstraktionslevel assoziiert ist. Des Weiteren wurde angenommen, dass Dunkelheit ebenso mit der Wahrnehmung psychologischer Distanz in Beziehung steht. Es wurde argumentiert, dass der Mangel an konkreten Informationen einerseits und die abstrakten Repräsentationen andererseits dazu führen, dass Personen und Objekte im Dunkeln nicht als Teil der unmittelbaren Erfahrung erlebt werden. Acht IATs belegten die implizite Beziehung zwischen Dunkelheit und den Distanzdimensionen: räumliche, zeitliche, hypothetische und soziale Distanz. Abschließend wurden Implikationen auf soziale Prozesse wie Vorurteile und Kooperation diskutiert. In der zweiten Studienreihe (Hanke, Steidle, & Werth, 2012) wurde der Frage nachgegangen, ob und wie Helligkeit und Dunkelheit moralische Kognitionen und Urteile verändern. Helligkeit kann als ein Zeichen moralischer Reinheit verstanden werden, die verteidigt wird, um das eigene Ansehen aufrechtzuerhalten. Dunkelheit dagegen als ein Zeichen von Unmoral und Verschwiegenheit, die eine Möglichkeit bietet, durch andere unbeobachtet zu sein. Basierend auf diesen metaphorischen Bedeutungen wurde argumentiert, dass Helligkeit im Vergleich zu Dunkelheit Prozesse aktiviert, das eigene Ansehen aufrechtzuerhalten – hier in Form einer erhöhten Normorientierung und stärkeren Verurteilens unmoralischem Handeln. In Studie 1 wurde zunächst gezeigt, dass Helligkeit verglichen mit Dunkelheit die Verfügbarkeit persönlicher Werte und Normen steigerte. Dementsprechend wurde angenommen, dass Personen, bei denen das Konzept Helligkeit aktiviert wird, unmoralische Handlungen stärker verurteilen, mehr negative moralische Emotionen zeigen und eher an moralischen Verhaltensabsichten festhalten sollten als Personen, bei denen das Konzept Dunkelheit aktiviert wird. Studie 2 belegte diese Annahme und demonstrierte den zu Grunde liegenden Prozess: die Orientierung an moralischen Normen. Ob unmoralische Handlungen als schlechte Absichten der handelnden Person gesehen werden oder durch äußere Umstände entschuldigt werden, hängt in hohem Maße von der sozialen Nähe zur handelnden Person ab (Studie 2A und 2B). Diese Ergebnisse tragen zum Verständnis des Embodiment moralischer Kognitionen bei und bieten praktische Implikationen für moralische Urteile bei Gericht. In der dritten Studienreihe (Hanke, Steidle, & Werth, 2012) wurde der Effekt von Dunkelheit auf Kooperation im sozialen Kontext aus der Perspektive sozialer Distanz untersucht. Es wurde argumentiert, dass Dunkelheit als ein Zeichen für soziale Distanz kompensatorisches Verhalten in Form von Kooperation auslösen kann, um die Distanz zum Interaktionspartner zu reduzieren. Fünf Studien belegten die Annahme, dass Dunkelheit unabhängig davon, ob Dunkelheit konzeptuell aktiviert oder physikalisch manipuliert wurde, Kooperation steigerte. Dieser Zusammenhang wurde durch das Gefühl von sozialer Nähe mediiert. Darüber hinaus wurden dispositionale und situationale Moderatoren der Beziehung zwischen Dunkelheit und Kooperation untersucht. Die Ergebnisse belegten, dass Dunkelheit Kooperation nur dann verstärkte, (1) wenn Kooperation half, das Bedürfnis nach Zugehörigkeit befriedigen zu können und (2) wenn Personen empfänglich für Umgebungsreize waren, die ein Bedürfnis nach sozialer Nähe auslösen konnten. Die wichtigste Implikation dieser Ergebnisse ist, dass Dunkelheit nicht in jeder Situation funktional ist, sondern nur dann, wenn soziale Distanz überwunden und soziale Nähe erreicht werden kann. In den folgenden Abschnitten wird zunächst auf die theoretische Grundlage dieser Arbeit eingegangen. Darauf aufbauend folgen ein kurzer Überblick der wichtigsten Erkenntnisse und die Vorstellung des Arbeitsmodells. Abschließend werden die theoretischen und praktischen Implikationen der vorliegenden Befunde diskutiert.

<p>The purpose of this essay is to investigate how Joseph Conrad has used animal imagery and religious symbolism in “Heart of Darkness,” and determine if these tools are somehow linked to the theme of the story. Close reading has been applied in order to be able to go through the entire story in search of these often well-hidden tools. Considering the fact that the story in focus of the analysis is believed by some, including myself, to be a long short story rather than a short novel, this method of approach has proved to be highly useful. First a discussion about a possible theme in “Heart of Darkness” is presented, followed by a brief comment on Conrad’s personal life philosophy and view on the use of symbolic devices in literary works. In order to determine the differences between symbols and imagery, as well as theme, subject and topic, a short discussion of terminology has been included.</p><p>Much of the discussion in the analysis relies heavily upon articles and books by critics who have focused exclusively on symbolism and imagery in “Heart on Darkness” and other works by Conrad. The scholarly names worth mentioning in connection with the discussion about animal imagery are Olof Lagercrantz, John A. Palmer, and Samir Elbarbary. The critics Anthony Fothergill and Cedric Watts explore religious symbolism in general, whereas P.K. Saha and Rita A. Bergenholtz focus on particular aspects of it, such as Buddhism and Greek mythology.</p><p>The analysis section is for the most part a combination between my own personal interpretations of “Heart of Darkness” and those made by others. It is divided into two major sections, Animal Imagery and Religious Symbolism. The latter, furthermore, comprises two subgroups. The conclusion suggests that Conrad used symbolism and imagery as narratological tools in order to present us with the theme of morality in the story.</p>

The purpose of the work is to analyze road safety and the quality of illumination in Akademija town, suggest the means for improving it. In the work there is car accidents in Lithuania and the town of Akademija analized; it was discovered, that in the period of 1980 – 2005 in the car accidents, 20637 people died and 14801 were injured. Since 2001, accident rate have been increased as the number of new cars and traffic flows is rising every day. Approximately 40 % of traffic accidents happen in the dark period of the day, and 70% of pedestrians, participating in the event, die. Traffic safety mostly depends on the level of illumination. In Akedemija town were fixed 142 traffic events, during last four years. There were injured 28 persons. The analysis for road illumination improvements was done and the illumination of the Akademija streets was observed. There are three streets in the area of Akademija and Ringaudai, illuminated enough, Mokyklos, Pilėnų and Tako (6 lx). Not enough there are lighted Student street and Pedestrian pathway between Akademija and Ringaudai. The worst situation is in the Universiteto Street. The illumination near the 5th dormitory hardly reaches 2.4 lx, and there is 4.5 lx illumination near the 6th dormitory. A part of Universiteto street is not lighted up at all. According to the requirements, with the help of computer program „Calculux road 6.2.2“, there is illumination of Akademija town designed and the economical evaluation done. The cost of... [to full text]

ABSTRACT Ursula K. Le Guin is an American author of novels, short stories, poems, children's books, and essays; she predominantly writes science fiction and fantasy. Le Guin first began publishing in the 1960s and continues her work today including speaking engagements in and around her home in Portland, Oregon. Her most recent publication is The Real and Unreal: Selected Stories (2 vol) from 2012. Le Guin is particularly known for her books set in the Hainish Universe. These short stories and novels comprise what is sometimes referred to as the Hainish Cycle and discuss various themes of gender, ecology, religion, and politics. The universe is believed to be seeded from and governed principally by the world known as Hain. The Hainish global government undergoes a transformation from its original iteration as the imperial League of All Worlds into the more cosmopolitan peace-keeping Ekumen and while the publication chronology of the works and the internal chronology of the universe differ there is a notable political evolution from the League to the Ekumen. By studying the characters of Raj Lyubov, Genly Ai, and Havzhiva from the novels The World for World is Forest (1972), The Left Hand of Darkness (1969), and Four Ways to Forgiveness (1995) this paper will examine assumed cultural understandings regarding themes of empire, imperialism, cosmopolitanism, and governance by building on the criticism of James W. Bittner and David M. Higgins. I will utilize the theoretical science fiction frameworks of Steve Shaviro and Istvan Csicsery-Ronay Jr. in conjunction with Michael Ignatieff's theory Empire Lite to demonstrate Le Guin's capacity to continually envision new parameters for alien contact and negotiation and explain how her work in world building and character development challenges readers to question existing concepts of empire through the evolution and exhaustion of two systems of global governance.

Esta dissertação estuda o papel do sujeito na literatura e sua relação com a cultura e alteridade através da análise de duas obras: Nove noites, de Bernardo de Carvalho e Coração das Trevas de Joseph Conrad. As obras estudadas mostram a crise que atinge os protagonistas dos dois livros depois do encontro com outras culturas. Em Nove noites o outro é representado pelo índio e em Coração das Trevas pelos africanos. Em Nove noites o antropólogo Buell Quain se suicida depois de uma estada entre os índios Krahô, e em Coração das Trevas vemos a deterioração do homem branco representada pelo personagem de Kurtz. Considerado um homem notável e um altruísta na Europa, Kurtz teria se corrompido no contato com a realidade do Congo e se torna, nas palavras do narrador Marlow, um dos demônios da terra. A dissolução da personalidade e código moral do homem branco, representada pelos dois personagens, será estudada analisando a relação entre personalidade e cultura e como a falta de apoio e controle grupal desarticula valores até então considerados estáveis, assim como o contato com o outro. Esta desarticulação do sujeito causada pelo choque cultural se soma à crise geral do sujeito moderno e ao mal-estar na civilização, como descrito por Freud. A posição paradoxal do antropólogo, que se situa entre duas culturas, faz parte desta análise, do mesmo modo questões pertinentes a posição dos índios e africanos no Congo. No caso específico de Coração das Trevas trabalha-se a interseção entre a análise do sujeito, e suas implicações, e a construção do personagem de Kurtz como símbolo da violência colonial. O trabalho analisa também as semelhanças entre as duas obras, tanto temáticas como em suas técnicas narrativas e a influência da obra de Conrad nos romances de Carvalho / This dissertation studies the role of subject in literature and its relation to culture and alterity through the analysis of two works: Nine Nights by Bernardo Carvalho and Heart of Darkness by Joseph Conrad. This work show the crisis that the protagonists of both books faces after the encounter with other cultures. In Nine nights the Indian and Heart of Darkness by Africans represents the other. Nine nights tells the story of the anthropologist Buell Quain who commits suicide after a stay between the Indians Krahô, and in Heart of Darkness we see the deterioration of the white man represented by the character of Kurtz. Considered a remarkable man and an unselfish in Europe, Kurtz would have been corrupted by contact with the reality of the Congo and becomes, in the words of the narrator Marlow, one of the demons of the land. The dissolution of the personality and moral code of the white man, represented by two characters, will be studied by analyzing the relationship between personality and culture and how the lack of support and control of the group disarticulates values until then considered stable, as well as the contact with other cultures. The disarticulation of the subject caused by culture shock adds to the general crisis of the modern subject and the discontents of civilization, as described by Freud. The paradoxical position of the anthropologist, which is situated between two cultures, is part of this analysis, even as questions regarding the position of Indians and Africans in the Congo. In the specific case of Heart of Darkness will be studied a intersection between the analysis of the subject, and their implications, and the construction of the character of Kurtz as a symbol of colonial violence. The paper also examines the similarities between the two works, both in thematic and in narrative techniques in their work and influence of Conrad's novels Carvalho

Esta dissertação estuda o papel do sujeito na literatura e sua relação com a cultura e alteridade através da análise de duas obras: Nove noites, de Bernardo de Carvalho e Coração das Trevas de Joseph Conrad. As obras estudadas mostram a crise que atinge os protagonistas dos dois livros depois do encontro com outras culturas. Em Nove noites o outro é representado pelo índio e em Coração das Trevas pelos africanos. Em Nove noites o antropólogo Buell Quain se suicida depois de uma estada entre os índios Krahô, e em Coração das Trevas vemos a deterioração do homem branco representada pelo personagem de Kurtz. Considerado um homem notável e um altruísta na Europa, Kurtz teria se corrompido no contato com a realidade do Congo e se torna, nas palavras do narrador Marlow, um dos demônios da terra. A dissolução da personalidade e código moral do homem branco, representada pelos dois personagens, será estudada analisando a relação entre personalidade e cultura e como a falta de apoio e controle grupal desarticula valores até então considerados estáveis, assim como o contato com o outro. Esta desarticulação do sujeito causada pelo choque cultural se soma à crise geral do sujeito moderno e ao mal-estar na civilização, como descrito por Freud. A posição paradoxal do antropólogo, que se situa entre duas culturas, faz parte desta análise, do mesmo modo questões pertinentes a posição dos índios e africanos no Congo. No caso específico de Coração das Trevas trabalha-se a interseção entre a análise do sujeito, e suas implicações, e a construção do personagem de Kurtz como símbolo da violência colonial. O trabalho analisa também as semelhanças entre as duas obras, tanto temáticas como em suas técnicas narrativas e a influência da obra de Conrad nos romances de Carvalho / This dissertation studies the role of subject in literature and its relation to culture and alterity through the analysis of two works: Nine Nights by Bernardo Carvalho and Heart of Darkness by Joseph Conrad. This work show the crisis that the protagonists of both books faces after the encounter with other cultures. In Nine nights the Indian and Heart of Darkness by Africans represents the other. Nine nights tells the story of the anthropologist Buell Quain who commits suicide after a stay between the Indians Krahô, and in Heart of Darkness we see the deterioration of the white man represented by the character of Kurtz. Considered a remarkable man and an unselfish in Europe, Kurtz would have been corrupted by contact with the reality of the Congo and becomes, in the words of the narrator Marlow, one of the demons of the land. The dissolution of the personality and moral code of the white man, represented by two characters, will be studied by analyzing the relationship between personality and culture and how the lack of support and control of the group disarticulates values until then considered stable, as well as the contact with other cultures. The disarticulation of the subject caused by culture shock adds to the general crisis of the modern subject and the discontents of civilization, as described by Freud. The paradoxical position of the anthropologist, which is situated between two cultures, is part of this analysis, even as questions regarding the position of Indians and Africans in the Congo. In the specific case of Heart of Darkness will be studied a intersection between the analysis of the subject, and their implications, and the construction of the character of Kurtz as a symbol of colonial violence. The paper also examines the similarities between the two works, both in thematic and in narrative techniques in their work and influence of Conrad's novels Carvalho

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-16T20:24:37Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-17T21:24:13Z (GMT) No. of bitstreams: 2 Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-07-17T21:24:19Z (GMT). No. of bitstreams: 2 Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Esta dissertação analisa a adaptação do romance Heart of Darkness, de Joseph Conrad (2007), para o formato de graphic novel, publicada por Catherine Anyango e David Zane Mairowitz (CONRAD, 2010). A análise consiste no estudo da transição do foco narrativo, da personagem e do espaço do modo “contar” na narrativa literária para o modo “mostrar” e “contar” das graphic novels. Este trabalho de pesquisa aborda a adaptação como uma obra independente, uma recriação, conforme sugere Hutcheon (2013). A fim de explorar as similaridades entre a narrativa literária e a narrativa em graphic novel e verificar as transformações ocorridas no processo de adaptação, foram levados em consideração os estudos de Groensteen (2013; 2015) e outros autores da teoria literária e da teoria das graphic novels. A análise mostra que o trabalho de Anyango e Mairowitz recria, por meio do uso de recursos visuais e verbais, os aspectos centrais da narrativa de Heart of Darkness, destacando a história do período colonial do Congo através do acréscimo de fragmentos do relato autobiográfico presente em The Congo Diary e de elementos cartográficos, como os mapas do Rio Congo e da Colônia Belga no Congo. / This thesis analyzes the work published by Catherine Anyango and David Zane Mairowitz in 2010, which adapts Joseph Conrad’s novel Heart of Darkness (2007) into a graphic novel. The analysis of the transition of the narrative focus, characters and space from the literary narrative’s “telling mode” to graphic novel’s “telling” and “showing” modes. This research project addresses adaptation as an independent work, a recreation, as suggested by Hutcheon (2013). In order to explore the similarities between the literary narrative and the graphic novel and to verify the transformations taking place in the adaptation process, Groensteen’s (2013/ 2015) and other authors’ contributions to both literary and graphic novel theories were taken into account. The analysis shows that the work by Anyango and Mairowitz recreates through the use of both verbal and non-verbal resources the core aspects of Conrad’s novel, emphasizing the history of Congo’s colonial period by adding fragments of the autobiographical account found in The Congo Diary as well as cartographic elements such as maps of the Congo River and Belgian Congo.

The purpose of this essay is to investigate how Joseph Conrad has used animal imagery and religious symbolism in “Heart of Darkness,” and determine if these tools are somehow linked to the theme of the story. Close reading has been applied in order to be able to go through the entire story in search of these often well-hidden tools. Considering the fact that the story in focus of the analysis is believed by some, including myself, to be a long short story rather than a short novel, this method of approach has proved to be highly useful. First a discussion about a possible theme in “Heart of Darkness” is presented, followed by a brief comment on Conrad’s personal life philosophy and view on the use of symbolic devices in literary works. In order to determine the differences between symbols and imagery, as well as theme, subject and topic, a short discussion of terminology has been included. Much of the discussion in the analysis relies heavily upon articles and books by critics who have focused exclusively on symbolism and imagery in “Heart on Darkness” and other works by Conrad. The scholarly names worth mentioning in connection with the discussion about animal imagery are Olof Lagercrantz, John A. Palmer, and Samir Elbarbary. The critics Anthony Fothergill and Cedric Watts explore religious symbolism in general, whereas P.K. Saha and Rita A. Bergenholtz focus on particular aspects of it, such as Buddhism and Greek mythology. The analysis section is for the most part a combination between my own personal interpretations of “Heart of Darkness” and those made by others. It is divided into two major sections, Animal Imagery and Religious Symbolism. The latter, furthermore, comprises two subgroups. The conclusion suggests that Conrad used symbolism and imagery as narratological tools in order to present us with the theme of morality in the story.

The hypothesis of this dissertation is that contemporary Norwegian painter, Odd Nerdrum (b 1944), uses tenebrism as a mode of beauty and a device to emphasise psychological states of being. Tenebrism is an effective kitsch device to create an impression of realism and so-called truthfulness while pointing to the deepest human sentiments and emotions. I argue that Nerdrum’s tenebrist art questions dark truths about modernity and its effect on the self. The darkness of his tenebrist style amplifies the emotional states of his human characters, and becomes a negative form of transcendence into absence and the power of its nothingness. Nerdrum’s paintings are a visual record of the human capacity to withstand selfdestruction and strive for restoration from the inane. His physical act of painting opens and refines consciousness by slowing down time, for insight and contemplation. / Dissertation (MA (Fine Arts))--University of Pretoria, 2008. / Visual Arts / MA / unrestricted