ABSTRACT An attempt to put the horror writer H. P. Lovecraft on the map of psychoanalytical criticism, this analysis examines Lovecraft’s use of setting, characters, and narrative mode and structure in “The Call of Cthulhu” (1926) to show how his construction of horror has its ground in psychology, or, more specifically, in ideas of identity and violated boundaries of the self. In addition, brief reflections on Modernist art, its connections with psychoanalysis, and its analogies to Lovecraftian imagery are provided in order to show the echoes of the Zeitgeist in Lovecraft’s horrors. Although Lovecraft made claims for the universality of the horror he depicted, the present analysis also maps its specific and time-bound characteristics. / e-mail: lordlabil@hotmail.com

Cette thèse porte sur l'architecture gothique flamboyante du comté de Bourgogne dela fin du XIVe siècle aux grands chantiers du XVIe siècle : Notre-Dame de Gray etNotre-Dame de Dole. Le corpus compte dix-sept monuments comprenant une majoritéd'églises paroissiales et deux chapelles commanditées par de puissants seigneurs comtois.Cette étude s'inscrit dans un vaste cadre chronologique et permet de poser unjalon dans la compréhension de l'architecture flamboyante en France. La confrontationdes sources écrites à l'analyse monumentale des édifices permet d'appréhender la complexité et la diversité des formes qui s'introduisent dans le comté de Bourgogne à la findu Moyen Âge et dans la première moitié du XVIe siècle. / This thesis focuses on the Flamboyant Gothic architecture of County of Burgundyfrom the late XIV century to the large construction sites of the XVI century : Notre-Dame de Gray and Notre-Dame de Dole. The corpus has seventeen monuments mostlycomprised of parish churches, but also of two chapels commissioned by powerful lordsof the County. This study is part of a broad chronological framework and helps lay amilestone in the understanding of the flamboyant architecture in France. The approachis a comparative analysis of sources and monumental buildings, which allows us tounderstand the complexity and the diversity of forms that were introduced into theCounty of Burgundy in the late Middle Ages and in the first half of XVI century.

Cette thèse s’inscrit dans le prolongement d’un premier travail, mené dans le cadre du Master I, puis du Master II, sur l’iconographie des vitraux du XIIIe siècle de la cathédrale sénonaise. Suite à cette première étude, un constat s’est imposé : malgré l’étendue des travaux antérieurs, l’analyse de l’édifice du « premier maître », pour reprendre l’expression de Jacques Henriet, c’est-à-dire l’analyse du projet du XIIe siècle, l’étude de la chronologie du chantier, mais également des nombreuses modifications subies par la cathédrale métropolitaine au Moyen Âge, et plus particulièrement aux XIIIe et XIVe siècles, laissait place à des observations complémentaires. Au regard de l’ampleur de la tâche, la démarche devait alors prendre le sens d’une « relecture » de la cathédrale métropolitaine, c’est-à-dire une nouvelle lecture approfondie et systématique des données. L’étude se divise en trois parties permettant successivement la définition du contexte archéologique de la cathédrale métropolitaine, puis l’analyse de l’édifice du premier maître et les modifications apportées à ce projet aux XIIIe, XIVe et XVe siècles. La troisième et dernière séquence de ce travail, est conçue comme une tentative de « faire vivre » l’édifice médiéval, afin d’aborder les questions de la gestion de l’espace, de la circulation et de la place des images au seuil et au sein de la cathédrale. / This research is an extension of a previous work, dedicated to the 13th-century stained-glass windows of the cathedral of Sens. Out of this first study was recognition that despite earlier initiated works and studies, the analysis of the building of the « First Master », to quote Jacques Henriet – that is, the chronology of the construction in the 12th and the modifications of its structure in the 13th, 14th and 15th century – was not fully achieved. The study is divided into three parts : the first two parts are dedicated to the archaeological context of the metropolitan church, the architectural analysis of the builing and the chronology of the construction (12th to 15th century) ; the third part is intended to understand the place of the monumental images and the light in the building, and how both clerical and lay could have reacted to them.

Orientador: Mário Luiz Frungillo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-24T10:22:46Z (GMT). No. of bitstreams: 1 Saber_RogerioLobo_M.pdf: 1131901 bytes, checksum: bd74a40c9603c7d7c7f65986303efd81 (MD5) Previous issue date: 2014 / Resumo: As obras Crônica da casa assassinada e O morro dos ventos uivantes - escritas, respectivamente, pelos autores Lúcio Cardoso (1912-1968) e Emily Brontë (1818-1848) - podem ser lidas como textos que, além de explorarem elementos da estética gótica literária, partilham uma trama que se movimenta a partir dos planos de vingança executados por seus protagonistas Nina e Heathcliff. Em primeiro lugar, desejamos delimitar quais elementos e temas são explorados pelos textos que nos permitem compará-los com os romances pertencentes à literatura noir dos séculos XVIII e XIX. Por fim, prevemos a aproximação de ambos os romances, de maneira que possamos compreender as razões da vingança de cada um dos agentes, os instrumentos utilizados, o modo de execução do plano e, por fim, as consequências do ataque levado a cabo. A aproximação proposta, além de confirmar que os textos podem ser lidos como obras góticas, indica-nos conclusões de ordem filosófica a respeito do tema em estudo (vingança) / Abstract: The literary works Crônica da casa assassinada and Wuthering Heights - respectively written by Lúcio Cardoso (1912-1968) and Emily Brontë (1818-1848) - can be read as texts that explore elements from the literary gothic aesthetics as well as a plot that animates itself through the revenge plan executed by their protagonists Nina and Heathcliff. In the first place, we want to delineate the elements and themes that are explored in the texts and that allow us to compare them to the novels that belong to the 18th and 19th centuries literature noir. In conclusion, we foresee an approximative reading of both novels in order to understand the reasons of the revenge of each protagonist, the instruments used, how the plan was executed and, finally, the consequences of the attack. Our approximative reading confirms that the texts can be read as gothic novels and it indicates us philosophical conclusions on the elected theme (revenge) / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Les chanoines de la cathédrale de Metz forment un milieu complexe, aux origines diverses, mais dont le statut social est solidement appuyé sur une fortune foncière constituée dont la gestion est confiée au service de la Maisonnerie dès le XIIIe siècle. Les maisons canoniales issues de ce patrimoine accompagnent en conséquence les mutations à l'œuvre dans la cité à la jonction des époques romane et gothique. Elles se répartissent en quatre types: entre cour et jardin, en U sur la rue, en maison-tour, et autour d'un pôle central d'origine romane. Cependant, l'étude de ces résidences a montré que certains prédicats de l'historiographie locale devaient être revus et corrigés. En particulier, si la vieille idée selon laquelle l'architecture locale aurait calqué ses usages sur l'architecture italienne reste vraie pour certains aspects techniques, il est clair aujourd'hui qu'elle ne tient pas compte de témoins plus proches de la cité, dans des régions avec qui Metz avait certainement des contacts réguliers, comme la Bourgogne et la Rhénanie. De surcroît, le rôle social des chanoines doit être replacé dans le contexte d'une ville libre impériale, différente des villes françaises. On peut ajouter que le monde des chanoines semble empreint d'une culture très liée à celle des laïcs, qui s'ouvre aux nouveautés du monde aristocratique au Bas Moyen Age puis à la modernité de la Renaissance. Il est ainsi remarquable qu'une bonne portion des quelques exemples d'art de la Renaissance conservés relèvent de commandes des chanoines pour la cathédrale, en réaction aux contestations sociales auxquelles sont liées leurs résidences. / The canons of the cathedral of Metz form a complex environment, with diverse origins, but whose social status is solidly supported by a property fortune whose management has been entrusted to the Maisonnerie department since the 13th century. The canonical houses from this heritage therefore accompany the mutations at work in the city at the junction of the Romanesque and Gothic eras. They are divided into four types: between courtyard and garden, in U on the street, in a tower house, and around a central pole of Romanesque origin. However, the study of these residences showed that some predicates of local historiography needed to be reviewed and corrected. ln particular, if the old idea that local architecture would have modeled its uses on Italian architecture remains true for certain technical aspects, it is clear today that it does not take into account witnesses closer to the city, in areas with which Metz certainly had regular contacts, such as Burgundy and the Rhineland. ln addition, the social role of the canons must be placed in the context of an imperial free city, different from French cities. It may be added that the world of canons seems to be imbued with a culture very much related to that of the laity, which opens up to the novelties of the aristocratic world in. the late Middle Ages and then to the modernity of the Renaissance. It is thus remarkable that a good portion of the few surviving examples of Renaissance art are under the orders of the canons for the cathedral, in response to the social disputes to which their residences are linked.

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Contribution to the origin and temporary state of the former monastery in Pivoň Abstract This Thesis is contributing to the issue of establishment of former Pivon Monastery,belonging to the Order of st. Augustin between years 1266-1787. Its' origin is a bit older, probably connected with Wilhelmite order, but there still remains a possibility of another, unknown founder. To this topic exist many relevant articles, the same as architectonical surveys but without any strict solution. The oldest visible architectonic parts survived till our days in presbytery of the monastic Church of Annunciation. In the time of writing this Thesis is the area of former monastery put up for auction and its' state is unfavourible, due to the sequences of events in 20th century and unfinished renovation from previous decade. That's why is this Thesis also focused on the poor state of properties of the Monastery area and church and is trying to figure out at least theoretical solution to current situation from the view of monument care.

The diploma thesis deals with the development of Gothic supporting system. In particular, chronologically arranged chapters are given examples of individual buildings, which are grouped into chapters according to their geographical location. Starting with the first supporting systems, as well as the Gothic style in France, we come to the spread of new ideas into neighboring countries such as England, Italy, the Netherlands, Germany and the Czech Republic. Next chapter is devoted to the supreme form of the support system using the example of the cathedral in Amiens and Cologne. Whole work closes chapter devoted to St. Vitus Cathedral, as a leading work of Peter Parler with a detailed description of the support system of the high choir and transept. Keywords Gothic, architecture, evolution, flying, buttress, cathedrale, kostel, Peter, Parler

Die Dissertation führt den Begriff des Schauerrealismus (gothic realism) als Werkzeug zur Analyse explizit politischer Gegenwartsliteratur ein. Hierbei thematisiert die Arbeit die kulturelle Arbeit des realistischen Gegenwartsromans und begreift Konventionen der Schauerliteratur als Ausdrucksmittel politischer Aktualität und als kulturelle Marker einer als krisenhaft empfundenen Gegenwart. Gleichzeitig leistet die Arbeit so einen kritischen Beitrag zur gegenwärtigen Periodisierungsdebatte im Bereich der amerikanischen Literatur, indem sie an Hand detaillierter Fallstudien die literarische Methodik und kulturell-politische Arbeit realistischer Romane herausarbeitet, die sich im Spannungsfeld zwischen einem Selbstbekenntnis zum Realismus und dem bewussten Einsatz von Konventionen klassischer Schauerliteratur einer klaren Periodisierungsabsicht entziehen. Basierend auf einem Textkorpus der Romane The Dead Zone und Cujo von Stephen King schlägt die Arbeit den Bogen zum gegenwärtigen realistischen Werk von Cara Hoffman und Julia Keller, um herauszuarbeiten, wie schauerliterarische Tropen als realistisches Ausdrucksmittel einen essentiellen Beitrag zur politischen und kulturellen Arbeit amerikanischer Gegenwartsliteratur leisten. / The dissertation introduces the term “gothic realism“ as a tool to analyze explicitly political contemporary literature. The work discusses the cultural work of the realist contemporary novel and conceptualizes conventions of gothic fiction as a means to express political actuality and as an indicator of a zeitgeist characterized by crisis. At the same time, the work critically contributes to the current periodization debate in American literature by offering detailed readings of the literary method and cultural work of realist novels that veer between a self-professed realism and the explicit use of gothic convention. By doing so, these texts escape clear efforts of periodization. Based on the Stephen King novels The Dead Zone and Cujo, the work theorizes and reads contemporary novels by Cara Hoffman and Julia Keller to show how tropes of gothic fiction as a realist means of representation fundamentally contribute to the cultural and political work of contemporary American literature.

How can I portray history so that it becomes bodily experienced? This work aims to, with contemporary addition to a site with significant historical value, investigate haptic understanding and the bodily experience of a material. In my memory the brick is hard, cold, sharp and heavy. How will it meet the body? This work is based on a perceived materiality. With the bricks as a starting point, both the theory of the body's meeting with materials and embodied working methods are presented. The work contains studies on the brick that are learned through the perceived meeting with the material, these studies are moreover applied to the final design proposal. By working towards the public space, a playground, this project reflects over the importance of experiencing material in order to trigger imagination.