Este trabalho objetiva uma revisão da recepção crítica e literária de Noite na Taverna, de Álvares de Azevedo. Com sua Noite na Taverna, esse poeta romântico criou uma peça singular em nossas letras, que gozou de grande popularidade desde então. Busco, a partir disso, elencar e comentar os mais relevantes estudos críticos sobre a obra, além de relacionar uma série de emulações da novela, produzidas sob sua inspiração e dividindo com ela o mesmo clima macabro e de espírito de grupo. Cumbre lembrar que, apesar do seu sucesso literário, Noite na Taverna não foi suficiente para criar entre nós uma tradição de literatura fantástica. Cabe ainda, ao apontar influxos (ainda que indiretos) da literatura de horror no romantismo brasileiro, apresentar uma reflexão sobre os motivos góticos no projeto estético de Álvares de Azevedo. / The aim of this research is to review the critical and literary reception of Noite na Taverna, de Álvares de Azevedo. With that book, this romantic poet created a unique piece in brazilian letters, which enjoyed great popularity since 1855. For this, I list and comment on the most relevant critical studies on the work, further relates a series of \"emulation\" of the novel, produced under his inspiration and sharing the same macabre atmosphere and group spirit. Although their literary success, Noite na Taverna was not enough to create among us a great tradition of fantastic literature. It also point to inflows (albeit indirect) of horror literature in Brazilian Romanticism, provide a reflection on the reasons for the Gothic themes in the Alvares de Azevedo\'s aesthetic project.

Vathek, primeiro romance do escritor inglês William Beckford publicado em 1786, é considerado por muitos uma obra singular. Combinando certos elementos dos chamados romances góticos com uma ambientação oriental, a narrativa coloca diversos problemas a respeito de sua complexa natureza estilística. Muitos estudiosos já tentaram associar a obra a alguma dessas tradições de forma definitiva. Neste trabalho, realizaremos uma nova leitura do romance para, então, confrontarmos nossos achados com a fortuna crítica. O intuito desse procedimento é o de verificar se, diante das questões suscitadas pela própria obra, termos como gótico ou orientalista podem descrever Vathek de maneira precisa. / Vathek, English writer William Beckfords first novel published in 1786, is considered by many a singular work. By combining certain elements of the so-called gothic novels with an Oriental setting, it poses many problems deriving from its complex stylistic nature. Several critics have already tried to conclusively link the work to some of the aforementioned traditions. The aim of our work is to propose a new reading of the novel and compare our findings with previous critical assessments. The reason behind this procedure is to verify if terms like gothic or orientalist can still precisely describe Vathek when confronted with problems evoked by the work itself.

Este trabalho objetiva uma revisão da recepção crítica e literária de Noite na Taverna, de Álvares de Azevedo. Com sua Noite na Taverna, esse poeta romântico criou uma peça singular em nossas letras, que gozou de grande popularidade desde então. Busco, a partir disso, elencar e comentar os mais relevantes estudos críticos sobre a obra, além de relacionar uma série de emulações da novela, produzidas sob sua inspiração e dividindo com ela o mesmo clima macabro e de espírito de grupo. Cumbre lembrar que, apesar do seu sucesso literário, Noite na Taverna não foi suficiente para criar entre nós uma tradição de literatura fantástica. Cabe ainda, ao apontar influxos (ainda que indiretos) da literatura de horror no romantismo brasileiro, apresentar uma reflexão sobre os motivos góticos no projeto estético de Álvares de Azevedo. / The aim of this research is to review the critical and literary reception of Noite na Taverna, de Álvares de Azevedo. With that book, this romantic poet created a unique piece in brazilian letters, which enjoyed great popularity since 1855. For this, I list and comment on the most relevant critical studies on the work, further relates a series of \"emulation\" of the novel, produced under his inspiration and sharing the same macabre atmosphere and group spirit. Although their literary success, Noite na Taverna was not enough to create among us a great tradition of fantastic literature. It also point to inflows (albeit indirect) of horror literature in Brazilian Romanticism, provide a reflection on the reasons for the Gothic themes in the Alvares de Azevedo\'s aesthetic project.

Atualmente na odontologia ainda há muita dificuldade na compreensão do movimento de Bennett ou laterotrusão. Devido a questões de inviolabilidade inerentes à característica da articulação temporomandibular não é possível observar diretamente o seu interior, de maneira que a análise da sua dinâmica durante a função torna-se questionável. Assim, o autor trabalhou com imagens e inferências aplicadas numa metodologia utilizada para tal fim. A proposta dessa pesquisa foi a de analisar o comportamento condilar durante os movimentos de lateralidade Centrífuga e de Bennett em pacientes portadores de prótese total. Vinte e dois indivíduos receberam novas próteses totais. O registro maxilomandibular foi realizado com a técnica de Gysi com a plataforma e pua extraoral. Utilizando-se uma pua modificada de forma que esta realizasse dois registros (pua dupla) com o mesmo movimento e, ao invés da cera aplicada sobre a plataforma, o registro foi feito sobre um fino papel carbono aderido a esta com uma fita adesiva dupla face. Através de imagens digitalizadas do articulador e dos registros no carbono foi possível, com a utilização de um programa de tratamento de imagens, arbitrar e testar a posição do eixo vertical de rotação condilar durante a lateralidade centrífuga e de Bennett. Os resultados mostraram uma predominância nos eventos onde o eixo vertical do côndilo posicionou-se na região ântero-lateral e póstero-medial durante a lateralidade de Bennett, porém mostrou uma predominância de eventos localizados na região póstero-medial durante a lateralidade Centrífuga. Houve casos onde o eixo vertical localizou-se exatamente sobre o centro da esfera, o que indica que o paciente durante a lateralidade não promoveu excursão do côndilo de trabalho, realizando um movimento de rotação puro se analisado no plano horizontal. De acordo com a metodologia aplicada nessa pesquisa concluiu-se que o eixo da lateralidade Centrífuga é mais medial que o da lateralidade de Bennett e que a maior parte dos eixos não coincide com aquele sobre o centro da esfera condilar. / It has been controversial the understanding of both the Bennett’s side shift and Centrifuge lateral movements. Had the inherent questions of TMJ´s inviolability it is not possible to observe its interior directly, thus the analysis of its dynamics during the function becomes questionable. The author worked with images and inferences applied to a methodology used for such end. The proposal of this research was to analyze the behavior of jaw condyle Bennett’s side shift and Centrifuge lateral movements in complete denture wearers. Twenty two subjects had new dentures constructed. The mandible tracings were made using the technique of Gysi with an extra oral device with two registration markers. Instead of wax it was applied a fine articulating paper adhered to the platform by a double face adhesive ribbon. Digitalized images from articulator and from articulating papers were set together. It was used a software of treatment of images both to decide and to test the position of the vertical axle of rotation of the jaw during the Bennett’s side shift and during Centrifuge lateral movement. The results were a predominance of the events where the vertical axis were located in the backward medial region for the centrifuge lateral movement and were located both in the backward medial and in the forward lateral region for the Bennett’s side shift. It had cases where the vertical axle was situated accurately on the center of the condyle sphere, what is supposed to mean that the patient, during the lateral jaw movement did not promote excursion of the working side condyle. In accordance with the methodology applied in this research, the author concluded that the axis of the centrifuge lateral movement is more medial than the one of the Bennett’s side shift, and that in the great majority of the events the axis did not met the condyle sphere of the articulator.

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My research is centred around Silent Era films adapted from nineteenth and early twentieth century Gothic literature with a special emphasis on the figure of the monster and its translation from literary to cinematic form. The corpus I have assembled for the purposes of this analysis comprises sixty-six films made in ten different countries between 1897 and 1929. Many of these films are considered lost and I have endeavored to reconstruct them as much as possible using materials located in film archives. The Introduction lays out the ground covered in the thesis and provides a working definition of ‘monstrosity’ in this context. The first chapter deals with the historical, economic, cultural, social and technological contexts of the films under discussion. The second chapter approaches the eight literary monster figures who form the core of this thesis through the lens of Adaptation Theory. The third chapter examines the elements of cinematic language that were particularly relevant to translating monster characters and Gothic literary narratives into silent film, placing this corpus into the context of silent film history and theory. The fourth chapter reviews a cross-section of intermedial systems of classification that have been applied to monster figures, and proposes a new system that would reflect the multifarious nature of the silent film Gothic literary monster. Chapters Five through Nine offer a theoretical framework for classifying the principal characteristics of the silent film Gothic monster by applying various philosophical and aesthetic concepts. The final chapter summarises the material presented in earlier chapters and offers relevant conclusions demonstrating how these films employ the unique characteristics, conventions, and limitations of the silent film medium in their representations of the Gothic literary monster.

This work reconsiders the tribune, its functional and symbolic importance in Gothic style architecture of twelfth-century France. Three case studies, the cathedrals of Notre-Dame of Noyon and Senlis and the priory church of Saint-Leu at Saint-Leu-d’Esserent, serve as a means to examine the origins, function and medieval conceptions of this enigmatic second story. An analysis of the cathedral fabric, together with the episcopal palace and chapel, in conjunction with an examination of the sociological and political context are undertaken in an effort to start a new dialogue regarding this architectural entity, long neglected in the discourse of Gothic architecture. The outlier in this study is the Cluniac priory of Saint-Leu, constructed with a tribune-like elevation yet lacking a proper tribune; the priory serves as a foil with which to test the assumptions surrounding the cathedral case studies. The careful examination of evidence reveals a nuanced understanding of this architectural entity, undermining the traditional narrative that holds it to be purely a constructional device used by medieval builders in the race for taller, more spacious churches. This new perspective situates the tribune in the broader context of the episcopal complex as an architectural entity physically and symbolically linking the different buildings of the cathedral, episcopal chapel and palace. Finding its roots in royal and imperial architectural complexes of the Byzantine and medieval empires the tribunes of Notre-Dame of Noyon and Senlis express propriety befitting the stature of the bishop and his cathedral, while this second story as a space of devotion confirms its spiritual supremacy. Notably, the use of this architectural form at this time occurs when bishops sought to reassert their authority, following a period of institutional weakness.

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / Nesta dissertaÃÃo, acompanho as trajetÃrias de jovens âafinadosâ com o gÃtico em seus circuitos de lazer na cidade de Fortaleza, a fim de observar como eles vivenciam uma experiÃncia com esse mundo artÃstico em diferentes espaÃos e eventos musicais. Trago para a pesquisa os seguintes questionamentos: como esses jovens produzem uma experiÃncia com o gÃtico a partir desses encontros? O que distingue ou caracteriza essa experiÃncia? O trabalho compreende uma descriÃÃo das trajetÃrias, eventos, performances, consumos e afetos que constituem e caracterizam esses encontros, ao mesmo tempo em que busca traÃar a multiplicidade de interaÃÃes e de fluxos que atravessam as subjetividades desses jovens. Na investigaÃÃo, utilizo o conceito de mundo artÃstico elaborado por Becker (2010) como estratÃgia metodolÃgica para pensar o universo gÃtico como uma rede de cooperaÃÃo entre indivÃduos em torno de trabalhos de arte, no caso, a arte gÃtica. / In this dissertation, I accompany young trajectories tune with the Gothic in their leisure circuit in Fortaleza city, in order to observe how they lived an experience with this art world in different spaces and musical events. I bring to research the following questions: how these young people produce an experience with gothic from these meetings? What distinguishes or characterizes this experience? The work includes a description of the trajectories, events, performances, consumptions and affections that constitute and characterize these meetings, while seeking to describe the multiplicity of interactions and flows through the subjectivities of these young people. During the investigation, I use the concept of art world prepared by Becker (2010) as a methodological strategy into think of the gothic universe as a network of cooperation between individuals around artworks in the case, the Gothic art.

Vathek, primeiro romance do escritor inglês William Beckford publicado em 1786, é considerado por muitos uma obra singular. Combinando certos elementos dos chamados romances góticos com uma ambientação oriental, a narrativa coloca diversos problemas a respeito de sua complexa natureza estilística. Muitos estudiosos já tentaram associar a obra a alguma dessas tradições de forma definitiva. Neste trabalho, realizaremos uma nova leitura do romance para, então, confrontarmos nossos achados com a fortuna crítica. O intuito desse procedimento é o de verificar se, diante das questões suscitadas pela própria obra, termos como gótico ou orientalista podem descrever Vathek de maneira precisa. / Vathek, English writer William Beckfords first novel published in 1786, is considered by many a singular work. By combining certain elements of the so-called gothic novels with an Oriental setting, it poses many problems deriving from its complex stylistic nature. Several critics have already tried to conclusively link the work to some of the aforementioned traditions. The aim of our work is to propose a new reading of the novel and compare our findings with previous critical assessments. The reason behind this procedure is to verify if terms like gothic or orientalist can still precisely describe Vathek when confronted with problems evoked by the work itself.

Introduction: The Historical Tradition of Baillie, Scott, Hodson and Southey -- William Wallace : "A Terrible Beauty" -- Exploration and conquest : Columbus, Balboa, and Pizarro -- National and Domestic Heroines : Margaret of Anjou and Lady Griseld Baillie -- Gothic Interactions : The Miscellaneous Legends of Baillie and Hodson. / https://dc.etsu.edu/etsu_books/1035/thumbnail.jpg