This thesis concerns the similarities between Flann O'Brien's novel The Third Policeman and fin-de-siècle literature, more specifically decadent literature and literature of the early avant-garde. The fact that, apart from metafiction, O'Brien's novel does not deal with aesthetics (neither when it comes to the form nor when it comes to the topic) does not invalidate the presence of fin-de-siècle elements or strategies in it; the elements only change and thus adapt to their new environment. Many of them become ironic, other ones actively contribute to the metafictional scope of the novel. The first chapter explains the parallels between The Third Policeman and fin- de-siècle literature in general. It concentrates primarily on decadent literature and its central theme of "unnaturalness." Unnaturalness occurs in variegated forms, such as artifice, artificiality or make-believe. Unnaturalness can be detected also in the protagonists themselves and even (in compliance with the metafiction of the novel) in the form of O'Brien's hellish world where the narrator finds himself. Discovering and experiencing various forms of unnaturalness go hand in hand with sense perception which is what the chapter also refers to - The Third Policeman remarkably reflects descriptions of sense experiences known from...

This thesis deals with reception of Scandinavian decadent literature in the Czech literary milieu on the background of European culture and philosophy in the late 19th century, the cultural homogeneity of European fin-de-siècle literature being stressed. The Scandinavian literature is in this thesis recognized to be an element of importance for the Czech periodicals (the main emphasis is placed on the periodical Moderní revue) as well as publishing houses. The thesis deals more thoroughly with Scandinavian men of letters such as Ola Hansson, August Strindberg, Georg Brandes, Herman Bang, Arne Garborg and considers their impact on the Czech literary ground. The personal contact amongst the European literary personas of the decadent epoch is of certain importance to the thesis.

La thèse compare quelques romans suédois et français écrits entre 1884 et 1892 et comment ceux-ci sont imprégnés par les thèmes de la Décadence, et cela à partir de l’implication esthétique des portraits de femmes. Huit textes sont étudiés afin de comparer la littérature suédoise fin-de-siècle – en partie interprétée comme de la littérature de « percée moderne » – à la littérature française et la Décadence. L’étude est divisée en trois parties concernant : 1) la représentation de la femme indépendante ; 2) les nouveaux rôles des sexes ; 3) les rapports à l’esthétique et l’ontologie décadentes. Comme l’époque est concernée par de nouveaux rôles de sexes, l’attention attirée sur les figures féminines est fructueuse et originale, car la plupart des personnages principaux décadents sont masculins, un fait qui imprègne la recherche sur la Décadence littéraire. La première partie analyse aussi bien les apparences et les comportements, que l’approche de « la femme fatale » et le regard des femmes d’elles-mêmes. Dans la deuxième partie, des thèmes comme androgynie, sexualité et érotisme sont étudiés. Finalement, la thèse examine, dans la troisième partie, les relations entre les figures féminines et les idées liées à la sécularisation, à l’artifice et aux maladies fin-de-siècle. Plus les analyses évoluent, plus il devient clair que les œuvres suédoises sont marquées par les mêmes thèmes et idées que les œuvres françaises. Cependant, une différence est que les traits des figures féminines françaises sont plus souvent exagérés que ceux des figures suédoises – une différence que la thèse voit comme une influence du programme littérairement politique de la « percée moderne ». / This thesis compares Swedish and French literary prose fiction written between 1884 and1892 and its approach to Decadent themes, with focus on the female portraits and their aesthetic impact. Eight texts are analyzed in order to explore how the Swedish fin de siècle literature – partly interpreted as belonging to the political literary program of the ”Modern Breakthrough” – relates to the French literature and the Decadence. As the literary Decadence is concerned about the gender roles, the focus on the female characters is profitable and original; most main characters in Decadent literature are male, which has also influenced earlier research on this period’s literature. The study is divided into three major parts: 1) pictures of the independent woman; 2) gender roles and sexuality; 3) female characters and decadent ontology. In the first part, the analyses focus on features and behavior – as well as “la femme fatale” and the women’s look upon themselves. In the second part, themes such as androgyny, sexuality and eroticism are examined. In the third part, the study explores how the female figures relate to the ideas of degeneration and the feelings of loss: secularization, artifice and (non-)health. The more the analyses are developed, the clearer it becomes that the Swedish texts are influenced by the same decadent themes and ideas as the French texts. Nevertheless, a difference is that the French literature’s female characters more often are depicted with exaggerated traits than the Swedish characters, a difference that the thesis points out as connected to the Modern Breakthrough and its political program.

In this research I examine the complexity of male sexuality and masculinity among male sex workers in New Orleans. Despite danger to their health and social standing, men engage in risky sexual behavior with other men for both business and pleasure. These behaviors may stem from the thrill of risk itself, or from other causes such as unexplored sexual inhibitions on the part of the male sex workers or their clients. Focusing on male sex workers, this ethnographic study explores why male sex workers engage in work that is high risk and potentially very dangerous. It examines the world of male sex work as one of the few places where men who adopt homosexual identity and those who refuse it are in intimate contact with one another. It offers us the opportunity to address questions about male sexual identity and homosexual desire, while attempting to understand the commodified spatial practices of a sexual culture in New Orleans.

Esta tese discorre sobre como a obra do escritor português Mário de Sá-Carneiro apresenta uma ligação com o mal, tomando como sustentação teórica as discussões propostas por George Bataille, Elizabeth Roudinesco e Martin Heidegger. A tese aponta como as personagens e os eu líricos optam pelo escapismo para outras realidades, para lugares míticos e para as múltiplas identidades, como forma de serem mais livres e de burlarem as regras morais que estão postas pela sociedade portuguesa da época. É por meio deste escapismo que se tem a possibilidade de criar uma vida envolta em mistério e repleta de momentos singulares. Com a ausência de uma moral que possa tolher o indivíduo de seus mais íntimos segredos é que a literatura de Sá-Carneiro envereda para a morte, o suicídio, o crime, o incesto, o homossexualismo e outros comportamentos que podem sugerir sua ligação com o mal. Com um universo deslocado do real, os textos têm como cena as noites parisienses, os refinados e sofisticados artistas e a crença de que a arte é sagrada e que, como tal, elege seus poucos representantes, e estes passam a ter seus caminhos ungidos por tal distinção. São as relações entre o escapismo, o mistério, a morte, as perversões e a arte que dão os subsídios para a inscrição da obra de Mário de Sá-Carneiro como um receptáculo daquilo a que chamamos de literatura do mal. / This paper describes how Mário de Sá-Carneiros works have a connection with evil. The theory is supported by George Bataille, Elizabeth Roudinesco and Martin Heideggers proposed discussions. The thesis notes how characters and poetic personae choose escaping to other realities, mythical places and multiple personalities as means of setting free or bending the moral rules which the Portuguese society held during that period. This escapism enables a mysterious, particular lifestyle. By lacking morals that may curb peoples most secret desires, Sá-Carneiros literature trails towards death, suicide, crime, incest, homosexuality and other unrighteous behaviors. By detaching from reality, the texts portray Parisian nights and sophisticated artists. It was believed that art was sacred and for that reason few were chosen to represent it. As a result, artists were allegedly annointed for such a distinction. The relationship between escapism, mystery, death, perversions and art shapes Mário de Sá-Carneiros work into what we call literature of evil.

La présente étude porte sur le regard réflexif que les Romains ont porté sur l’évolution de la pratique oratoire et sur les constructions historiographiques qu’ils ont pu élaborer pour en rendre compte. A travers le Brutus de Cicéron ainsi que Les Controverses et suasoires de Sénèque le père, nous étudions la constitution d’un objet historiographique singulier. Nous cherchons à mettre en évidence l’existence de plusieurs formes possibles d’écriture pour la construction d’une histoire de l’éloquence romaine. Le motif de la décadence constitue l’autre grand axe de notre travail. Nous abordons avant tout le thème du déclin en tant que révélateur des mentalités. Le rapport entre histoire de l’éloquence et politique constitue enfin le fil conducteur de notre travail. La construction d’une histoire de l’éloquence apparaît, en effet, liée de manière indissociable aux transformations politiques. Nous voulons donc mettre en évidence l’évolution historique du topos de la rhétorique décadente, qui revêt des formes diverses selon les auteurs. Le modèle d’interprétation politique ne s’impose définitivement que dans le Dialogue des orateurs de Tacite. La dégénérescence de l’art oratoire apparaît donc comme un domaine d’étude privilégié pour explorer la manière dont l’événement politique peut se traduire dans le champ culturel et voir comment l’histoire de l’éloquence intègre la notion de rupture. / This dissertation deals with the Roman’s reflexive look upon the evolution of rhetorical practice and on the historiographical constructions they devised to account for it. Throughout Cicero’s Brutus as well as Seneca the Elder’s Controversiae and Suasoriae, I study how a peculiar historiographical object was formed. I intend to demonstrate that there were several possible ways to write a history of Roman rhetoric. The motif of decadence is my other main point. I primarily address the topic of decline as an indicator of mindsets. The relationship between politics and the history of rhetoric is the guiding thread of my thesis, for the construction of a history of rhetoric is inextricably mingled with political changes. I thus intend to evidence the historical evolution of the topos of decadent rhetoric, which takes on various shapes depending on the author. The political interpretation model only prevailed starting with Tacitus’Dialogus de Oratoribus. Degeneration of rhetoric therefore appears to be a major area of study to explore how political events translate into the cultural realm and how the history of rhetoric incorporates the concept of historic breaks.

Made available in DSpace on 2016-04-04T18:29:48Z (GMT). No. of bitstreams: 1 Fernando Lacerda Junior.pdf: 2133933 bytes, checksum: e1dc83e8be9b07561c7b4e3690fade46 (MD5) Previous issue date: 2010-02-09 / Pontif?cia Universidade Cat?lica de Campinas / This doctoral thesis develops an historical-systematic analysis of different accounts in psychology with the aim of tackling the association between psychological internal developments and social and historical circumstances or broader philosophical debates. Here is argued that psychology as a particular social complex emerged when bourgeoisie converted the task of understanding human self-activity into a function of justification and naturalization of social order. To defend this thesis the broader historical and philosophical background that gave rise to psychology is highlighted. To analyse the creation of psychology the notion of ideological decadence developed by Luk?cs, was employed. The argument is sustained through the discussion of three groups of psychological projects that developed between 19th and 21st centuries: (a) projects that began with Wundtian psychology and ended with the behaviourist turn in USA; (b) approaches that articulated Marxism and psychology that emerged between Russian revolution in 1917 and Cuban revolution during the second half of 20th century; (c) different traditions of critical psychology that emerged after 1968 and that are developing until 21st century. Considerations on the relationship between psychology, individualism and Marxism are made and, then, in the final remarks, the possibilities of creating a Marxist psychology and of overcoming apologetics are discussed. / O presente trabalho empreende uma an?lise hist?rico-sistem?tica de alguns projetos de psicologia com a finalidade de problematizar a rela??o entre os desdobramentos internos da psicologia com os acontecimentos hist?rico-sociais e debates filos?ficos mais gerais. Argumenta-se que a psicologia enquanto complexo social espec?fico nasceu quando a busca de compreens?o da autoatividade humana pela burguesia foi abandonada e convertida na busca para justificar e naturalizar a ordem social. Para analisar este processo buscou-se delinear o terreno hist?rico-filos?fico mais amplo do qual brotou a psicologia e utilizou-se a categoria decad?ncia ideol?gica para problematizar o nascimento da psicologia. Para defender esta tese analisam-se tr?s conjuntos de projetos psi que se desenvolveram entre os s?culos XIX e XXI: (a) os projetos que se desenvolveram desde o surgimento do projeto de psicologia wundtiano at? o giro behaviorista ocorrido na primeira metade do s?culo XX; (b) as propostas que articularam psicologia e marxismo que emergiram entre a revolu??o russa de 1917 e a revolu??o cubana na segunda metade do s?culo XX; (c) os projetos de psicologia cr?tica que emergiram a partir de 1968 e se desenvolveram at? os primeiros anos do s?culo XXI. Uma ?nfase especial ? dada para a rela??o entre psicologia, individualismo e marxismo. Nas considera??es finais discutem-se as possibilidades de se desenvolver uma psicologia marxista e de eliminar o papel da apolog?tica no interior da psicologia.

Made available in DSpace on 2016-04-26T20:19:52Z (GMT). No. of bitstreams: 1 Cristina del Pilar Pinheiro Busquets.pdf: 1693974 bytes, checksum: fe78efb9646835f3198bf2fef1f59396 (MD5) Previous issue date: 2010-11-17 / The public administration in the exercise of its duties is submitted to the external control of its actions by the Court of Accounts. The purpose of the current work is to analyze the juridical configuration of the high Court of Accounts, especially with regard to the time and its interference in the actions which intend to protect the public treasury against the agent causing the damage. This way, the starting point is the action of the time upon human beings´ rights through two configurations: with or without the intervention of human action. Defined the concepts of prescription, decadence and preclusion, its distinguishing elements are presented so that the frequent confusion that exists regarding each figure and its effects can be set apart. Then the control put in action by the Court of Accounts is examined, discussing its origin, autonomy, competences and functions, types and nature of courts decisions. Scrutinized its juridical configuration, it will be examined the recording of the acts of administration by the Courts of Accounts, its nature and effects, as well as the deadlines that the court should obey. The possibility of reviewing its decisions, as well as making null and void registered acts, by the Administration, is checked. After that, the rendering of account of public administrators and the penalties applied in the field of action of the courts of accounts will be studied, taking into consideration the occurrence of prescription and decadence; it will also be examined the execution of those courts' decisions, related to fine and debt, including its origin and configuration as a document valid to commence an execution process and to proceed the collection. Finally, it will be discussed the control of the action of the courts of accounts, focusing on the subject of terms for the accomplishment of the constitutional competences assigned to them, analyzing the repercussion of these terms in the life of the administered and of the administration and its influences, direct and indirectly, in the action of the courts of accounts / A Administração Pública, no exercício de suas funções, está sujeita ao controle externo de seus atos pelo Tribunal de Contas. O objeto do presente trabalho é analisar a configuração jurídica da Egrégia Corte de Contas, especialmente no que tange ao tempo e à sua interferência nas ações que visam proteger o erário em face do agente causador do dano. Para tanto, parte-se da atuação do tempo sobre os direitos dos homens por meio de duas formas: com ou sem intervenção da ação humana. Fixados os conceitos de prescrição, decadência, e preclusão, apresentam-se seus elementos diferenciadores, de sorte a apartar a frequente confusão existente em relação a cada figura e seus efeitos. A seguir, procede-se ao exame do controle exercido pelos Tribunais de Contas, abordando-se sua origem, autonomia, competências e funções, tipos e natureza das decisões das cortes. Investigada a sua configuração jurídica, passa-se ao exame do registro de atos da Administração, pelos Tribunais de Contas, sua natureza e efeitos, bem como os prazos a que estão sujeitas estas Cortes. Verifica-se a possibilidade de revisão de suas decisões, bem como de anulação de atos registrados, pela Administração. Na sequência, procede-se ao estudo da tomada de contas de gestores públicos e das sanções aplicadas no âmbito dos Tribunais de Contas, considerada a ocorrência de prescrição ou decadência; examina-se, também, a execução das decisões daquelas Cortes, relativas à multa e ao débito, compreendendo sua origem, configuração como título executivo e efetivação da cobrança. Por fim, aborda-se o controle da atuação do Tribunal de Contas, com enfoque na questão dos prazos para cumprimento das competências constitucionais que lhes são reservadas, analisando-se os reflexos desses prazos nas vidas do administrado e da Administração e suas influências, direta e indiretamente, no agir dos Tribunais de Contas

Esta tese discorre sobre como a obra do escritor português Mário de Sá-Carneiro apresenta uma ligação com o mal, tomando como sustentação teórica as discussões propostas por George Bataille, Elizabeth Roudinesco e Martin Heidegger. A tese aponta como as personagens e os eu líricos optam pelo escapismo para outras realidades, para lugares míticos e para as múltiplas identidades, como forma de serem mais livres e de burlarem as regras morais que estão postas pela sociedade portuguesa da época. É por meio deste escapismo que se tem a possibilidade de criar uma vida envolta em mistério e repleta de momentos singulares. Com a ausência de uma moral que possa tolher o indivíduo de seus mais íntimos segredos é que a literatura de Sá-Carneiro envereda para a morte, o suicídio, o crime, o incesto, o homossexualismo e outros comportamentos que podem sugerir sua ligação com o mal. Com um universo deslocado do real, os textos têm como cena as noites parisienses, os refinados e sofisticados artistas e a crença de que a arte é sagrada e que, como tal, elege seus poucos representantes, e estes passam a ter seus caminhos ungidos por tal distinção. São as relações entre o escapismo, o mistério, a morte, as perversões e a arte que dão os subsídios para a inscrição da obra de Mário de Sá-Carneiro como um receptáculo daquilo a que chamamos de literatura do mal. / This paper describes how Mário de Sá-Carneiros works have a connection with evil. The theory is supported by George Bataille, Elizabeth Roudinesco and Martin Heideggers proposed discussions. The thesis notes how characters and poetic personae choose escaping to other realities, mythical places and multiple personalities as means of setting free or bending the moral rules which the Portuguese society held during that period. This escapism enables a mysterious, particular lifestyle. By lacking morals that may curb peoples most secret desires, Sá-Carneiros literature trails towards death, suicide, crime, incest, homosexuality and other unrighteous behaviors. By detaching from reality, the texts portray Parisian nights and sophisticated artists. It was believed that art was sacred and for that reason few were chosen to represent it. As a result, artists were allegedly annointed for such a distinction. The relationship between escapism, mystery, death, perversions and art shapes Mário de Sá-Carneiros work into what we call literature of evil.

Denna uppsats undersöker dekadensens betydelse för Klas Östergrens generationsroman Gentlemen (1980). Syftet är dels att uppmärksamma ett hittills förbisett författarskap, dels att applicera en teori som kan belysa Gentlemen. Frågeställningen utgår därmed ifrån hur dekadensen återspeglas i romanens huvudkaraktärsskildringar, samhällsstämningar och form. Uppsatsens dekadensdefinition grundar sig i Paul Bourgets Théorie de la decadence (1883), där han skildrar samhällets, individens och språkets förfall. Utifrån dessa tankar antar jag en bred dekadensdefinition som fokuserar människans ambivalens inför att leva i en värdemässigt förfallen värld. Dekadensteorin är därmed utgångspunkten för analysen där jag genom närläsning urskiljer framträdande dekadenta drag. Framförallt betydande är den s.k. Makten, och dess förväntningar på lojalitet, som orsak till undergångsstämningar. För att hantera samtidens mörker blir konsten en utväg likt, dekadensens artificiella paradis. Henry gör likt dandyn konst av sig själv och sina trygghetsskapande vardagsritualer, Leo försöker sin illojalitet trogen avslöja sanningen om Maktens lögner i sin poesi, och berättaren Klas berättar sanningen om Henry och Leo genom att skriva Gentlemen. Genom en homodiegetiskt berättare upplöses karaktärerna till deras handlingar, och intrigen till detaljerna. Därmed återfinns dekadensen både i bokens tematik och estetik. / This essay examines the importance of decadence in the generational novel Gentlemen (1980) by Klas Östergren. The aim is partly to draw attention to a neglected authorship, partly to apply a theory that can illuminate Gentlemen. That is why I ask how decadence is reflected in the novel's main characters, community atmosphere and form. My definition of decadence is based on Paul Bourget's Theorie de la decadence (1883), in which he portrays society, individuals and the language's decline. With these thoughts in mind, I assume a broad definition of decadence that focuses on man's ambivalence towards life in a world that is fallen in sense of values. The theory of decadence is thus the starting point of this analysis through close reading, where I discern prominent aspects of decadence. Especially significant is the so-called Makten (The Force), and its claims for loyalty, as a cause of apocalyptic atmosphere. In order to deal with this dark, contemporary period, art becomes a refuge in similar ways as the artificial paradises of the Decadent era. Henry, like a dandy turns himself and his comforting everyday rituals into art; Leo, faithful to his disloyalty, tries to uncover the truth about the lies of Makten in his poetry; and Klas the narrator tells the truth about Henry and Leo by writing Gentlemen. By a homodiegetic narrator the characters are dissolved into their actions and the plot into details. Thus, both the book's aesthetics and themes can be traced to decadence.