Thesis (M.A.)--Memorial University of Newfoundland, 1996. / Typescript. Bibliography: leaves 136-139. Also available online.

Thesis (Ph. D.)--Brown University, 2005. / Vita. Thesis advisor: Sheila Bonde. Includes bibliographical references (leaves 201-209). Also available online.

Malgré la rareté des sources à Chambéry et dans sa région, les critères d’existence d’un foyer artistique dans la ville et ses alentours au tournant des XVe et XVIe siècles peuvent être réunis. Un important corpus d'une quarantaine de sculptures produit au cours de quelques décennies entre 1480 et 1530 atteste l'activité locale de sculpteurs. L'analyse des œuvres permet de distinguer l'activité de plusieurs ateliers et d'envisager un mode de production. De nombreuses occasions d'échanges entre milieux artistiques chambériens, genevois et septentrionaux peuvent aussi être mises en lumière. Dans cet espace, autour de 1500, la présence d'une clientèle variée et un contexte religieux dynamique ont favorisé le développement d'un langage artistique originale. / Despite the paucity of documentary evidence arguing in favour of the existence of much sculpting activity in and near Chambéry, the criteria needed to establish the presence of an artistic hub in the town and its vicinity at the turn of the XV and XVI centuries can be shown. The existence of a large body of sculptures, consistent both in style and iconography, produced over a few decades between 1480 and 1530, is testament to the activity of sculptors in the region. An analysis has led to identifying the activity of various artists' workshops, and to understanding of the way in which these works were produced. Many opportunities for contact between the art worlds of Chambéry, Geneva and Northern countries can also be identified. Within this space, a varied clientele as well as a dynamic religious context have supported the development of an original local artistic production.

The main goal of the thesis is a thorough description of the outer stone sculptural decoration of the Old Town Hall (taking into consideration the Hall's entrance portal and moulding of the window with Vladislav's initial), its iconographic analysis and creating the photo documentary. In addition the thesis documents the possible style paralels of this decoration in Czech and European art of the Late Gothic period in witch case it focuses on naturalistic element. This very study of possible style paralels becomes the foundation for the attepmt to narrowing down the radius of potantial authors of this creation and it helps to uncover its symbolic meaning.

Submitted by Aline Cristina Sola Orlandi (alineorlandi@yahoo.com.br) on 2016-07-25T17:21:11Z No. of bitstreams: 1 DISSERTAÇÃO - Versão Final.pdf: 1205432 bytes, checksum: 16ecc7a478715ff90bd529382059468e (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-07-28T12:28:58Z (GMT) No. of bitstreams: 1 orlandi_acs_me_arafcl.pdf: 1205432 bytes, checksum: 16ecc7a478715ff90bd529382059468e (MD5) / Made available in DSpace on 2016-07-28T12:28:58Z (GMT). No. of bitstreams: 1 orlandi_acs_me_arafcl.pdf: 1205432 bytes, checksum: 16ecc7a478715ff90bd529382059468e (MD5) Previous issue date: 2016-05-30 / A presente dissertação de mestrado pretende elucidar à luz de teorias feministas e do gênero gótico algumas técnicas de escrita utilizadas por Angela Carter na reescrita do conto de fadas “Chapeuzinho Vermelho”, como forma de subversão de discursos patriarcais e desconstrução de todo um imaginário ocidental de subjugo e vitimização da mulher. Carter revisita os contos de fadas mais populares, na coletânea The Bloody Chamber and other stories, subvertendo padrões estruturais desses contos e também a posição da mulher como vítima passiva recorrente em alguns contos de fadas e na literatura gótica. Através dos contos “The Werewolf” e “The Company of Wolves” presentes na referida coletânea, pretende-se explorar como Carter faz uso de elementos do gótico para construir uma atmosfera de terror, que representa os perigos que a heroína terá que enfrentar para chegar ao final da trajetória e conquistar um prazer total (Jouissance), que ocorrerá através de sua independência econômica, social, sexual e imaginária. E como Carter propõe uma pornografia aliada à mulher, que a empodere e a ajude a descobrir sua identidade, para, assim, retomar seu lugar de igualdade com o homem na sociedade. Além disso, pretende-se elucidar, também, como a autora subverte o Gênero Gótico e os Contos de fadas, bem como a própria Pornografia e os discursos anti-pornografia do movimento feminista. / This master's thesis aims to elucidate through feminist theories and the Gothic genre some writing techniques used by Angela Carter in the rewriting of the fairy tale "Little Red Riding Hood" as a form of subversion of patriarchal discourses and deconstruction of an entire western imaginary subjugation and victimization of woman. Carter revisits the most popular fairy tales in the collection The Bloody Chamber and other stories, subverting structural patterns of these stories and also woman's position as recurring passive victim in some fairy tales and gothic literature. Through the tales "The Werewolf" and "The Company of Wolves", present in said collection, is intended to explore how Carter makes use of Gothic elements to build an atmosphere of terror, representing the dangers that the heroine will have to face to reach the end of the path and win a total pleasure (Jouissance), through its economic, social, sexual and imaginary independence. And how Carter proposes an ally pornography to woman, that empowers and helps her discover her identity, to thus repossess her place of equality with man in society. In addition, we intend to clarify, also, as the author subverts the Gender Gothic and Fairy tale, and the very Pornography and anti-pornography feminist movement speeches.

Esta pesquisa apresenta o comportamento estrutural da Catedral da Sé de São Paulo em termos de deslocamentos e de tensões a partir do desenvolvimento de um modelo numérico tridimensional simplificado e da consideração do comportamento elástico-linear dos materiais. Construção gótica do século XX, a igreja matriz é um símbolo religioso, arquitetônico e social e sua praça, palco de manifestações e de expressão popular. Seu estilo gótico e o céu abobadado são interrompidos por um espaço octogonal sobre o qual se ergue uma cúpula renascentista. Inicialmente, são abordados aspectos da arquitetura da igreja e seus principais espaços são descritos; também são apresentadas as características geométricas dos elementos estruturais e as características mecânicas dos materiais, bases para a construção do modelo matemático. Em seguida, a estrutura da igreja é analisada quanto aos deslocamentos e às tensões, tendo-se feito, além do estudo da Catedral tal qual ela é, simulações em que são retirados os arcobotantes e as torres frontais, o que permite um estudo qualitativo e quantitativo da importância destes elementos estruturais para o equilíbrio do conjunto. Verifica-se que as regiões da igreja que apresentam os maiores deslocamentos também são aquelas mais críticas em termos de tensão, e algumas fissuras encontradas na igreja podem ser relacionadas aos carregamentos considerados nesta pesquisa. Constata-se que a Catedral da Sé é bem concebida e que seus elementos principais comportam-se estruturalmente como os das catedrais góticas originais. / In this research, the structural behavior of the Cathedral of Sé in terms of displacements and stresses is presented, based on a simplified three-dimensional numerical model and the consideration of linear-elastic behavior of materials. Gothic building of the twentieth century, the Cathedral of Sé is a religious, architectural and social symbol and its square, scene of demonstrations and popular expression. Its Gothic style and vaulted sky are interrupted by an octagonal space on which stands a Renaissance dome. Initially, different aspects of the architecture of the church are discussed and its main areas are described, as well as are presented the geometric characteristics of its elements and the mechanical properties of its materials, bases for the construction of the mathematical model. In the sequence, the structure of the church is analyzed in terms of displacements and stresses, and in addition to the analysis of the Cathedral as it really is, simulations in which the flying buttresses and the front towers are removed are done, since they allow for the determination of the qualitative and quantitative importance of these structural elements to the equilibrium of the church. This research shows that the regions of the church in which the largest displacements occur are also those most critical in terms of stresses, and some of the cracks found in the building may be related to the loads considered in this study. The analysis done shows that the Cathedral of Sé is well designed and that its main elements behave structurally as those of the original Gothic cathedrals.

Neste trabalho, desenvolvemos uma reflexão sobre uma das principais obras do romance gótico e da prosa de ficção romântica em língua inglesa Melmoth the Wanderer (1820), do clérigo dublinense Charles Robert Maturin (1782-1824). Buscamos analisar Melmoth como um sermão gótico irlandês, isto é, um híbrido de romance gótico e sermão sacro, cuja forma é estruturada pelo contexto sócio-histórico da Irlanda do início do século XIX, época caracterizada pelo acirramento das tensões entre católicos e protestantes. Nessa análise, consideramos também a produção sermonística e ensaística do autor. A religião, que se mostra o princípio organizador do romance, foi entendida em sua natureza dialética entre o eterno, as doutrinas teológicas e suas proposições transcendentais, e o temporal, a práxis dos fiéis no mundo. Demonstramos como o escritor-reverendo utiliza uma série de procedimentos retórico-argumentativos da oratória sagrada na tessitura do romance a fim de amplificar o seu grau persuasivo, transformando-o em arma de propaganda política contra a campanha pela Emancipação Católica. Discutimos ainda a fortuna crítica e a recepção do romance em vários países europeus, em especial na França, onde influenciou sobremaneira escritores como Honoré de Balzac, Victor Hugo e Charles Baudelaire. / This study looks at one of the masterpieces of the Gothic novel and the Romantic prose fiction in the English language: Melmoth the Wanderer (1820), written by the Dubliner cleric Charles Robert Maturin (1782-1824). One tries to analyze Melmoth as an Irish Gothic sermon, ie, a hybrid of gothic novel and sermon whose shape is structured by the sociohistorical context of 19th century Ireland, a period characterized by the deepening of tensions between Catholics and Protestants. This analysis also takes into account Maturin´s sermons and essays. Religion, which is the organizing principle of the novel, is understood in this study by its dialectic between the eternal (theological doctrines and their transcendental propositions), and the temporal (the practice of the faithful in the world).The study argues that the writer-cleric uses a series of rhetorical-argumentative procedures of sacred oratory in the making of the novel in order to increase its persuasive appeal, turning it into a weapon of political propaganda against the campaign for Catholic emancipation. It also assesses the novel´s reviews and reactions in several European countries, particularly in France, where it greatly influenced writers such as Honoré de Balzac, Victor Hugo, and Charles Baudelaire.

The Woman in White (1859 60), de Wilkie Collins, foi a obra inaugural do subgênero vitoriano conhecido como romance de sensação, isto é, narrativas permeadas por crimes como bigamia e identidades falsas, ambientadas em lares ingleses que, à primeira vista, parecem estar acima de suspeitas, e que introduziam novos segredos e reviravoltas a cada página para prender a atenção do leitor. Feito um panorama das condições materiais que possibilitaram o surgimento desse subgênero, postula-se que o protagonista do romance de Collins, Walter Hartright, edita os relatos dos outros narradores, estruturando a narrativa com mecanismos emprestados do romanesco e do Gótico, apresentando as evidências como se o fizesse a um tribunal e organizando os testemunhos da forma que melhor lhe convém, para assim legitimar sua ascensão social. / The Woman in White (1859-60), by Wilkie Collins, was the inaugural piece of the Victorian subgenre known as the sensation novel, that is, narratives pervaded by crimes as bigamy and fake identities, set in English homes that, at first sight, seem to be above suspicion, and that introduced new secrets and plot twists at every page to hold the readers attention. Following an overview of the material conditions that enabled this subgenre to emerge, I argue that the protagonist in Collinss novel, Walter Hartright, edits other narrators accounts by structuring the narrative with procedures borrowed from romance and from the Gothic, by producing evidence as if in a Court of Justice, and by assembling the testimonials in the way that best suits his interests in order to legitimize his social ascension.

Submitted by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-03-27T13:21:54Z No. of bitstreams: 1 Penny Bloods - O Horror Urbano na Ficção de Massa Vitoriana - Dissertação de Mestrado - Karina dos Santos Salles.pdf: 2970471 bytes, checksum: b224a0d73415bd90bae5f22e816cc1bc (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-03-27T13:22:34Z (GMT) No. of bitstreams: 1 Penny Bloods - O Horror Urbano na Ficção de Massa Vitoriana - Dissertação de Mestrado - Karina dos Santos Salles.pdf: 2970471 bytes, checksum: b224a0d73415bd90bae5f22e816cc1bc (MD5) / Made available in DSpace on 2017-03-27T13:22:35Z (GMT). No. of bitstreams: 1 Penny Bloods - O Horror Urbano na Ficção de Massa Vitoriana - Dissertação de Mestrado - Karina dos Santos Salles.pdf: 2970471 bytes, checksum: b224a0d73415bd90bae5f22e816cc1bc (MD5) / Esta dissertação busca analisar como o horror se apresenta na ficção de massa produzida durante a era vitoriana na Inglaterra, mais especificamente a que se enquadra em um subgênero do romance vulgarmente conhecido como penny blood. Para cumprir esse propósito, duas obras representativas desse subgênero foram escolhidas como objeto de estudo: The Mysteries of London (1844-1848), de G. W. M. Reynolds, e The String of Pearls: A Romance (1846-1847), de autor anônimo. Nesta pesquisa, aborda-se a penny blood como uma das formas inauguradoras da ficção de massa, uma vez que ela surgiu a partir da combinação de fatores como a urbanização, a alfabetização em massa e o crescimento do mercado editorial e se caracterizou pela publicação extensiva de histórias sensacionalistas com o objetivo de atender à crescente demanda por leitura de entretenimento da classe trabalhadora e de produzir uma cultura impressa acessível e barata. Além disso, considera-se a penny blood como uma narrativa que se expressa por meio do gótico urbano, retratando a cidade como um lugar dominado pelo submundo do crime e povoado por vilões monstruosos. Desse modo, a penny blood, transpondo o horror para a cidade, refletiu certas ansiedades da sociedade vitoriana concernentes ao novo espaço urbano que se desenvolveu tão rapidamente ao longo do século XIX. / This dissertation aims to analyse how horror is represented in the popular fiction that was produced during the Victorian era in England, especially in the subgenre that came to be known as the penny blood. To this end, the selected body of work comprises two romances that have been considered typical of this subgenre: The Mysteries of London (1844-1848), by G. W. M. Reynolds, and The String of Pearls: A Romance (1846-1847), by an anonymous author. In this research, the penny blood is claimed to be one of the earliest forms of popular fiction, for it emerged from a combination of factors such as urbanisation, mass literacy and the development of the publishing market, and it was also characterised by the massive publication of sensational stories catering to the growing demand for light reading by the working class and creating an accessible, cheap kind of print culture. In addition, the penny blood is studied here as a set of narratives that incarnates the urban Gothic, since it often depicts the criminal underworld of the city and the monstrous villains that inhabit it. In this sense, the penny blood, by placing horror within the city, reflected certain anxieties displayed by Victorian society regarding the new urban space that developed itself so rapidly throughout the nineteenth century.

Trois cloîtres attribués aux couvents de "Trie-sur-Baïse", "Bonnefont-en-Comminges" (aux Cloisters, New York) et "Montréjeau" (Paradise Island, Bahamas) furent remontés outre-Atlantique au cours du XXe siècle. L'installation moderne de tels monuments en Amérique nous incitent à nous intéresser à ce goût, exprimé dés le début du XXe siècle, pour l’architecture médiévale. Selon les premières attributions, les pierres proviendraient d'abbayes des Pyrénées centrales, dont les vestiges furent dispersés au cours de l'Histoire. Les troubles des guerres de Religion, l’abandon progressif des établissements par les communautés religieuses, l’aliénation de leur temporel pendant la Révolution portèrent un coup sévère à l’intégrité des bâtiments monastiques ; mais, de la période post-révolutionnaire jusqu’au début du XXe siècle, ce sont bien les discrètes transactions entre particuliers et antiquaires, qui firent disparaître de la mémoire collective l’origine même des pierres, particulièrement celles des cloîtres en marbre, convoitées pour leur décor. Identifier leur provenance fut l'enjeu majeur de cette étude. Ces marbres sculptés présentent un programme iconographique riche et varié : les ensembles de "Bonnefont-en-Comminges" et de "Montréjeau" proposent un décor de feuillage stylisé tandis que celui de "Trie-sur-Baïse" expose des scènes figurées originales. Mener une analyse de ces sculptures a permis de les restituer dans leur contexte architectural originel. / Three cloisters attributed to the monasteries of "Trie-sur-Baise", " Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas) were purchased by American collectors and rebuilt, during the XXth century, in North America. The modern assembly of such monuments generates interest on the taste of these American amateurs, from the beginning of XXth century, for medieval European architecture. While respectively attributed to the monasteries of "Trie-sur-Baise", "Bonnefont-en-Comminges" (the Cloisters, New York) and "Montréjeau" (Paradise Island, Bahamas), the initial attribution states that the stones were from central Pyrenees monasteries, whose ruins were scattered throughout ancient times : the Hundred-year war as well as the wars of religion, the gradual desertion of religious institutions by their communities during the XVIIth and XVIIIth centuries and, at last, the alienation of their properties during the Revolution seriously damaged the integrity of monastic buildings. However, during the post-revolutionary period until the early XXth century, many discrete transactions between individuals and antique dealers further took away the stones real origin from the collective memory, especially cloisters sculptures coveted for their ornament. Identifying the cloisters provenance was the main subject of this study. The three carved marbles present various iconography ; while the "Bonnefont-en-Comminges" and "Montréjeau" ensembles both show stylized foliage ornaments, the "Trie-sur-Baise" cloister depicts original figurative scenes. Carrying out an in-depth study of these sculptures made it possible to accurately associate the cloisters to their original architectural set and production context.