Orientador : Leila da Costa Ferreira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-01T15:33:52Z (GMT). No. of bitstreams: 1 Carvalho_MarcioAugustoVicentede_M.pdf: 10023888 bytes, checksum: bc175314d2455c01bc1ef6788c94eb61 (MD5) Previous issue date: 2002 / Resumo: A dissertação consiste na análise de uma base teórico-metodológica para o estudo de sociologia ambienta!, em especial O Método de Edgar Morin, baseada no pensamento complexo e nos sistemas auto-organizados. Analisamos a relação entre a sociabilidade no ser humano e a escassez de recursos naturais, através de uma pesquisa de reconhecimento das diversas causas encontradas - por autores diferentes - para a socialização verificada entre os seres humanos; numa segunda etapa, verificamos as linhas de ação humana em face da necessidade de recursos escassos. Será verificada a validade da tese de que sociabilidade e escassez de recursos são grandezas relacionadas nas sociedades humanas; para chegar a tanto, estamos realizando uma discussão acerca da utilização de modelos de sistemas complexos nas ciências sociais / Abstract: This dissertation consists on the analysis of a theoretical-rnethodological basis for the studies in environmental sociology, specifically Edgar Morin's La Méthode, based upon the complex thought and self-organized systems. We analyze the relationship between human being's sociability and the scarcity of natural resources, performing a reconnaissance research about the several causes found - by a number of authors - for the socialization ofthe human beings; on a second stage, we verify the threads ofhuman action facing the need for scarce resources. The validity of the assertion that sociability and resource scarcity are related in human societies will be verified; to do so, we will accomplish a discussion about the utilization of complex systems models in social sciences / Mestrado / Mestre em Sociologia

The purpose of this thesis is to consider the extent to which Edgar Allan Poe’s literary thought influenced Charles Baudelaire, Chapter one will explain when and how Baudelaire became acquainted with the works of the American writer. It will be seen that from his first readings of Poe, the Frenchman was profoundly moved; he felt that he had discovered a “frère spiritual." Baudelaire devoted almost seventeen years to the task of finding out all he could about Poe, writing articles about him and translating many of his works, the latter resulting in what is often considered to be one of the finest translations in literature. In chapter two it will be noted that there were many biographical affinities between the two writers, but that Baudelaire, in his articles on Poe, often emphasized the similarities and alluded only briefly to some of the basic differences. This can be explained by the fact that the French poet was determined that he and Poe should resemble each other. However, if the biographical similarities are often exaggerated by Baudelaire, the esthetic and artistic affinities offer a far more solid basis for comparison. Indeed, as chapter three will attempt to show, both poets shared many of the same precepts governing poetry, such as the ideal length of a poem, the role of music in verse, and the primordial importance of poetry in the life of man. Early critics tended to attribute these similarities to Poe's influence on Baudelaire. Nowadays, however, scholars tend more to ascribe this somewhat unique literary phenomenon to common influences working independently on the two poets. The general consensus is that Baudelaire's esthetic and artistic outlook was almost completely formed before he became acquainted with Poe's works. A chronological examination of some of the Frenchman's poems would appear to corroborate this theory. On the other hand, there are a number of poems which Baudelaire dedicated to a certain Madame Sabatier, in which may be seen ideas, images and even complete phrases which resemble Poe to such a degree that one is all but forced to conclude that they must result from Baudelaire's familiarity with the American's works. Chapter four discusses some of5ssthe more outstanding similarities which occur in this group, known as the "cycle de Madame Sabatier." In conclusion, it may be said that, with the exception of the Sabatier poems, Poe did not transform Baudelaire's fundamental literary outlook and added nothing to his genius. On the other hand, and of the utmost importance in a man of Baudelaire's somewhat unstable make-up, the Frenchman saw in his idol a kind of vindication of his own ideals and derived from him a certain faith in the value of his own genius. Approved as abstract: / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Control is a central issue in any text: does the author's intention or the reader's interpretation better explain the resulting meaning of the text? This question has long been the subject of debate among textual theorists; this essay proposes a middle ground, namely that the author and the reader engage in a collaborative effort to make meaning in a text.

How do artists scare us? Horror filmmakers and novelists alike can accomplish fear, revulsion, and disturbance in their respective audiences. The rhetorical and stylistic strategies employed to evoke these feelings are unique to the genre. Divulging these strategies will be the major focus of this thesis, yet there will also be discussion on the social and cultural background of the Horror genre.

This dissertation examines the way the work of two nineteenth-century American authors, Walt Whitman and Edgar Allan Poe, borrowed from, challenged, and even worked to support prevailing cultural attitudes, conventions, and ideas regarding death, mourning and memorializing as they produced their poems and tales, articulated their thoughts regarding the purpose and act of producing and reading literature, and designed their material book or magazine objects. Using both new historicist and book studies methodologies, it exposes how these writers drew upon literary, ritual, and material practices of this culture, and how, in turn, this culture provided an interpretive framework for understanding such work. In its initial three chapters, which focus largely on Edgar Allan Poe, this dissertation revisits Poe's aesthetic philosophies ("The Poetic Principle" and "The Philosophy of Composition"), much of his most notable Gothic work (such as "Annabel Lee" and "The Raven"), readers' responses to this work, and his own attempts or designs to mass-produce his personal script (in "A Chapter on Autography," "Anastatic Printing," and his cover for The Stylus) in order to revise our understanding of his relationship to this culture and its literary work, exposing a more sympathetic and less subversive relationship than is usually assumed. It illumines how Poe's aesthetic philosophies were aligned with those that undergird many of the contemporary mourning objects of the day, how his otherwise Gothic and macabre literature nevertheless served rather conventional and even recuperative ends by exposing the necessity of and inviting readers to participate in culturally sanctioned acts of mourning, and how he sought to confirm the harmony between his work and more conventional "consolation" or mourning literature by actively seeking to bring that work (and the "self" that produced it) visibly before his readership in a medium that this culture held was a reliable indicator of the nature and intent of both that work and its producer - namely his own personal script. In its latter three chapters, this dissertation illuminates Whitman's own extensive use of mourning and memorial conventions in his work, disclosing the way his 1855 Leaves of Grass relied, in both its literary and physical construction, upon the conventions of mourning and memorial literature, detailing the way his 1865 book of Civil War poetry Drum-Taps sought to unite a national body politic by creating a poetic and material text capable of allowing a grieving public readership to reconnect with and successfully mourn their dead, and how his 1876 Two Rivulets, overtly conceived of as a memorial volume, made use of the conventions associated with mourning and memorializing to bring readers to a more democratic understanding of "self" that Whitman believed would transform America into the democratic utopia it was destined to become. In revealing the way in which these authors' works reflect and reflect upon this culture, its ideologies, rituals, and practices, the dissertation also illumines an otherwise critically underexplored connection between these two writers. It details the influence of Poe's work on Whitman's poetic project, and borrows from Whitman's critical response to Poe in order to recast our understanding of Poe's literature in the manner detailed above. Thus, this dissertation offers new interpretations of some of the period's most canonical literature, alters our thinking about the relationship of these authors to each other and to nineteenth-century sentimental culture, and, finally, exposes a curious interdependence between Gothic and more transcendental literature that has implications not only for reading the work of Whitman and Poe, but for interpreting these literatures more generally.

This thesis is focused on the motivations and influences on the writings of Edgar Allan Poe. Poe's work and letters are used to support the hypothesis that his work resulted from a desire to be recognized.

Among the psychological interpretations of Edgar Allan Poe’s “The Black Cat,” trauma theory has yet to make an appearance. However, the confessional nature of the story shifts—via a trauma reading—from an attempt by the narrator to ease his guilt to his attempt to understand what happened to him. The narrator’s murder of his wife traumatized him, causing erasures in the timeline and several forms of dissociation. These erasures and dissociations cause an uncanny effect within the story, which occurs as the past, present, and future are conflated and as the narrator’s mind is both known and hidden. The narrator’s tale is an attempt at working through his trauma to come to an understanding and acceptance of the events. However, the unclear timeline—both how much time has passed since his wife’s death and the passage of time in the story—suggests that the narrator does not have enough critical distance from the events, so telling his tale becomes a form of reliving that does not relieve the confusion he experiences. Ultimately, the narrator’s confession does not provide the understanding he hopes for, which places the burden of creating an understanding of the story on the individual reader.

Syftet med uppsatsen är att analysera Edgar Wrights Scott Pilgrim vs. the World (2010) ochhur regissören Edgar Wright skapar ett narrativ med hjälp av olika visuella medel, så kallatvisuellt berättande. Visuellt berättande är någonting som Edgar Wright jobbar mycket med ialla sina filmer. De har alla ett originellt och karakteristiskt bildspråk som berättarinformation genom olika visuella ledtrådar. Det jag primärt avser att analysera är hur filmenskildrar dynamiken mellan de olika karaktärerna och deras känslor med hjälp av visuellaberättartekniker, samt hur Edgar Wright genom filmens bildspråk skapar en egen trovärdigfilmvärld utifrån scenografi och bildutsnitt.

Although the combination of humour and holocaust may seem rather startling, further analysis of humour characteristics brings to light its significant functions, which, according to the survivors, humour in the holocaust truly fulfilled. Whether it is a matter of being able to see the object of one's attention from several perspectives, from an emotional distance or being able to release accumulated frustrations, there is clear evidence of humour's appreciable role during the holocaust and in the aftermath. Within the framework of coping with the trauma caused by the holocaust experience also emerged holocaust literature dealing with the subject from a humorous perspective, which motivated a lot of debates developed about appropriateness of humour in the holocaust representation. To other controversial works from this area also belong the short stories by Tadeusz Borowski and the novel The Nazi & the Barber by Edgar Hilsenrath. This master thesis follows humour, satire and cynicism as means of coping with traumatic holocaust experience based on the example of the above mentioned works of Tadeusz Borowski and Edgar Hilsenrath, which, according to many critics, tested the limits of holocaust representation thanks to their unusual humorous approach. Thus, the aim of the thesis is to analyze these...

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