La figure mythique du double se manifeste dans la majorité des cultures sous des formes archétypales renvoyant à l’expérience de la division de l’individu en positions antithétiques ou complémentaires. Dans la littérature gothique et fantastique, le mythe est propice à créer un sentiment d’angoisse et d’horreur soulignant les problèmes et mystères de la schize du sujet. Ce travail d’analyse propose de regrouper les récits de doubles selon deux catégories d’occurrences thématiques en se basant sur le traitement textuel qui en est fait, soit l’apparition du double par homonymie d’une part et par pseudonymie de l’autre. Ceci mènera ultimement à commenter sur la perception qu’a l’auteur de lui-même et du processus de création. Le problème de la division étant au cœur des balbutiements théoriques en psychologie et en psychanalyse, une grille analytique lacanienne et post-structuraliste sera appliquée à cette recherche. Les œuvres traitées seront New York Trilogy de Paul Auster, The Dark Half de Stephen King, William Wilson d’Edgar Allan Poe, Le Double de Fédor Dostoïevski et Despair de Vladimir Nabokov. / The mythical figure of the double appears in most of cultures through archetypes translating the human experience of division, be it complementary or antithetical. In Gothic and Fantastic literatures, the myth often stands for a feeling of anguish and horror underlining the mysteries and complications arising from the subject’s dividedness. This analysis wishes to group into two thematic categories occurrences of doubles based on the textual treatment that is made of them: doubles as homonyms and as pseudonyms. This distinction will lead in commenting on the author’s perception of himself and of the creative process. We will use a Lacanian and post-structuralist reading grid, based on the fact that dividedness has been a core issue in psychological and psychoanalytical theoretical developments. The works studied will be Paul Auster’s New York Trilogy, Stephen King’s The Dark Half, Edgar Allan Poe’s William Wilson, Fyodor Dostoevsky’s The Double and Vladimir Nabokov’s Despair.

A les primeres dècades de la catorzena centúria la vestimenta catalana (i en general, la d’Occident) és sacsejada per novedoses formes que canvien la silueta dels seus portadors tant masculins com femenins. Al mateix temps, aquestes vestidures s’adornaren amb un creixent i refinat luxe que transpassà els reduïts límits dels cercles cortesans i aristocràtics per abastar a grups socials com la burgesia enriquits pel comerç o els negocis i que es podien permetre destinar un elevat dispendi per al seu guarda-roba. El centre cronològic de més interès pel que fa a l’evolució vestimentària de Catalunya arrenca als anys 40 i acaba a finals dels 80, amb una dècada entremig, 1340-1350, que es rebel•la fonamental per a la generalització d’importants canvis en la indumentària. Tot i així, els límits cronològics han estat a vegades ampliats als segles XIII o XV quan així ho ha requerit l’estudi dels antecedents o de l’evolució tipològica d’una determinada peça de vestir. El treball s’ha basat en l’estudi dels principals vestits externs, de les vestidures anomenades a l’època subiranes. La més estesa és la cota de la qual les imatges artístiques ens han permès identificar diverses variants tipològiques que hem denominat cota A, cota B, cota C, cota talar i cota ardia. Al costat de les cotes s’han considerat altres vestits externs com l’aljuba, el pellot, el curtapeu i el gipó. Tanmateix, l’estudi abasta també els vestits interiors que acompanyaven als exteriors com la gonella, la gonella encordada i la samarra així com el mantell i la gramalla que eren considerats peces d’abrigall. L’establiment de tipologies de diferents peces de vestir i la seva evolució cap a noves formes s’ha basat en l’anàlisi de fonts documentals, literàries, iconogràfiques i arqueològiques. Un apartat preferent d’aquest treball és el constituït per l’anàlisi de les lleis sumptuàries. En el decurs del segle XIV les autoritats dictaren a diverses ciutats i poblacions del territori europeu diverses ordinacions destinades a limitar el creixent luxe vestimentari i les supèrflues despeses que aquest comportava. Les lleis sumptuàries catalanes que han estat examinades en aquest estudi són les de Barcelona, Cervera, Mallorca i Berga. En definitiva, la indumentària esdevení un autèntic codi que no havia de ser transgredit ja que establia i feia reconeixibles jerarquies i funcions. Tanmateix, a mesura que va evolucionant el segle XIV, el llenguatge de la vestimenta coneix insistents intervencions del poder, tant del civil com del religiós, per a regular-lo i, en definitiva, “domesticar-lo”. / In the first decades of the fourteenth century the Catalan outfit (and in general the West) is shaken with innovative ways that change the shape of its wearers, both male and female. At the same time these garments were adorned with a growing and refined luxury which went over the narrow limits of the court and aristocratic circles to encompass social groups such as the bourgeoisie enriched by trade or business who could afford to spend a large expense in their wardrobe. The chronological center of most interest regarding the evolution of Catalonia dress starts in the 40s and finishes in late 80s, with a decade in between, from 1340 to 1350, which reveals fundamental to the spread of important changes in clothing. However, the chronological limits have been sometimes extended to the thirteenth or fifteenth when so has required the study of history or the typological evolution of a particular garment. The work is based on the study of the major suits outside the garment, called at the time “subiranes”. The most widespread is the “cota”, of which its artistic images have permitted the identification of several typological variants which we have called cota A, cota B, cota C and cota ardia. Beside the cota other external dresses have also been considered such as l'aljuba, el pellot, el curtapeu i el gipó. However, the study also covers internal suits accompanying the outer skirt, such as la gonella, la gonella encordada i la samarra as well as el mantell i la gramalla which were considered coat pieces. The establishment of various types of garments and their evolution into new forms is based on the analysis of documentary sources, literary, archaeological and iconographic. A preferred section of this paper is constituted by the analysis of the sumptuary laws. During the fourteenth century the authorities dictated in several cities and towns throughout Europe several ordinances designed to limit the growing luxury in dressing and the wasteful expending this entailed. Catalan sumptuary laws that have been examined in this study are in Barcelona, Cervera, Majorca and Berga. In short, the clothes became a real code which should not be violated since it established and made recognizable hierarchies and functions. However, while the fourteenth century evolves, the language of dress knows persistent interventions.

Thesis (doctoral)--University of Lund. / Errata inserted. Description based on print version record. Includes bibliographical references (p. 236-243) and index.

Univerzita Karlova v Praze Filozofická fakulta Ústav pro dějiny umění Dějiny výtvarného umění - Obecná teorie a dějiny umění a kultury Erika O k r u h l i c o v á Parlerovská architektúra na západnom Slovensku The Parlerian Architecture in the Western Slovakia Disertační práce vedoucí práce - Prof. PhDr. Jiří Kuthan, DrSc., Dr. h. c. 2015 ABSTRAKT Dizertačná práca sa venuje parlerovskej architektúre na západnom Slovensku. Parlerovská architektúra, súvisiaca s priamou činnosťou rodu Parler, trvala približne od poslednej tretiny 14. storočia do polovice 15. storočia. Stavitelia, ktorí pokračovali v odkaze rodu Parler, stavali približne do záveru 15. storočia. Uvedená architektúra zahŕňa cirkevné stavby (kostoly, kaplnky), hrady (v rámci ktorých boli stavané aj kaplnky) a radničnú kaplnku. Stavby priamo, resp. sprostredkovane súvisia so staviteľskou činnosťou rodu Parler, ktorého člen Peter Parler, pôsobiaci predovšetkým v Prahe, uviedol do architektúry nové riešenia, uplatňované počas viacerých generácií staviteľov, aj členmi iných staviteľských rodov. Priama činnosť členov rodu Parler s menami Henrich ml., Václav a Janco je v práci preskúmaná z hľadiska pravdepodobnosti a hypotéz ich pôsobenia na západnom Slovensku. V stredoveku bola aj svetská architektúra úzko spojená s božským poslaním s odkazmi na...

This dissertation concerns the socio-cultural politics expressed in the performances of Matthew Barney, Steven Cohen, Marina Abramovic, and the ‘Pop’ artist Madonna. The contention is that these artists mirror and dramatize marginalization and seem to reflect a desire to resolve conflicts experienced between social and psychological identities in contemporary society. The premise of this study is that these performers engage in a ‘dialogue’ with viewers as a form of self-preservation and self-healing. The Performance artists’ measure of socio-cultural tensions suggests the merging of mass media entertainment, theatrical devices and other cultural practices such as fetishism and rituals involving altered states of consciousness, props and allusions to shamanism. An ancient modality of healing, such as shamanism, when appropriated by artists, seems to reflect an urgent phenomenological need of the individual within Western society for overcoming feelings of powerlessness as a type of therapeutic practice. The Performance artists’ Othering is acted out as a survival mechanism addressing and questioning the ‘degradation’ imposed on marginalized individuals who challenge the traditional notion of authentic identity and the ‘classic’ body. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Devenu soudainement roi de France en 1498, Louis XII entreprend de reconstruire le château familial de Blois. L'aile Louis XII du château royal présente un programme iconographique sculpté exceptionnel réalisé de 1498 à 1503 environ, qui comporte plus de deux cents culots, gargouilles, masques grotesques, rosaces, monogrammes et emblèmes, entourant la figure équestre du roi et le décor de l'escalier. Les sources manuscrites relatives à la réalisation du décor sculpté ayant disparu presque en totalité, le parti pris a été de considérer dans la première partie les événements qui, du cadre historique aux restaurations des XIXe et XXe siècles, ont forgé l’identité actuelle du château. L'étude iconographique est abordée en seconde partie, incluant le décor sculpté du château de Blois, les enjeux ignorés du décor du grand escalier et de la voûte en relation avec la figure équestre, l'emblématique royale de Louis XII. La troisième partie permet d’insérer le décor sculpté dans le contexte de création de la sculpture dans les chantiers et ateliers de 1450 à 1520. De la seconde moitié du XVe siècle à 1520 / As soon as he become king of France in 1498, Louis XII undertake to rebuild the family castle of Blois. The Louis XII wing of the royal castle of Blois shows an exceptional iconographic and carved program done from 1498 to about 1503, which consists of more than two hundred culots, gargoyles, grotesques, masks, medallions, monograms, and emblems, surrounding the equestrian statue of the king and the staircase. As the manuscript archives relating to the carvings have almost completely disappeared, the objective has been to consider firstly the historical events up until the restorations of the 19th and 20th century that have contribued to the current identity of the château. An iconographic study is approached in the second part, including the sculpted decoration of the château, the relationship between the decoration of the grand staircase and the vault with the equestrian statue. The third part relate to the role of the carved decoration within the artistic context of buiding sites and workshops between 1450 to 1520

Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-03-02Bitstream added on 2014-06-13T20:13:43Z : No. of bitstreams: 1 alegrette_ay_me_arafcl.pdf: 573460 bytes, checksum: 4e564e7284dc1d936b52f3ee5ff8275f (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A dissertação de mestrado, “Frankenstein: uma releitura do mito de criação”, tem como principal objetivo demonstrar como a escritora inglesa Mary Wollstonecraft Shelley, por meio de seu romance Frankenstein, ou o moderno Prometeu (1818), conseguiu criar um novo mito, isto é, o mito de Frankenstein, contribuiu para a renovação do romance gótico e para a criação de uma nova modalidade literária - a ficção científica. No primeiro capítulo foi realizado um estudo sobre as origens, características e principais obras do romance gótico. No segundo capítulo é abordada a relação entre mito e literatura e são analisados quais mitos aparecem no enredo do romance de Mary Shelley, enfatizando-se a importância do relato mítico de Prometeu. No terceiro capítulo é estudada a construção do discurso narrativo mítico de Frankenstein e é demonstrada a intertextualidade dessa obra com outros textos, tais como poemas, romances e estudos filosóficos e científicos. No quarto e último capítulo é demonstrado a releitura do mito de criação feita por Mary Shelley, a conseqüente criação do mito de Frankenstein, e as diversas interpretações e releituras que o romance recebeu, terminando com Blade Runner (O caçador de andróides, 1982), filme do cineasta inglês Ridley Scott que, ao promover a atualização do mito de Frankenstein, deu uma contribuição significativa para sua permanência em nossa cultura / The main aim of this Master’s Thesis, “Frankenstein: a rewriting of the myth of creation, is demonstrate how the English writer Mary Shelley in her novel Frankenstein, or The Modern Prometheus (1818), created a new kind of myth, renewed the gothic novel and gave origin to a new literary genre - science fiction. The first chapter discusses – the origins, characteristics and main works of the Gothic literature. The second chapter explores the relationships between myth and literature, and analyses which myths are present in the plot of Mary Shelley’s novel, stressing the importance of the Promethean’s story. The third chapter is concerned with the construction of mythic narrative discourse and with the novel’s intertextuality with different kind texts, such as poems, another novels and philosophical and scientific studies. The fourth and last chapter concentrates on Mary Shelley’s rewriting of the myth of creation, on the different ways her novel was interpreted and read, and it finishes with study of the film by the English director Ridley Scott, Blade Runner (1982), that offered a major contribution to update and foster the permanence of the Frankenstein’s myth in our culture

Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-12-15Bitstream added on 2014-06-13T20:26:34Z : No. of bitstreams: 1 aissa_jc_dr_sjrp.pdf: 1179416 bytes, checksum: 0d39e12059beafe9a0a212661c32f9de (MD5) / O propósito desta tese é o de estabelecer analogias e contrastes entre Edgar Allan Poe e Alphonsus de Guimaraens em relação aos preceitos estéticos que decidiram imprimir a sua produção poética, mormente quanto aos temas de amor (Eros) e morte (Tânatos). Procuramos demonstrar que esses matizes temáticos são trabalhados sob a angulação do góticomelancólico a fim de se atingir o sublime. Nos quatro primeiros capítulos, teorizamos sobre como o gótico, a melancolia e o sublime podem ser alinhavados poeticamente. No quinto e sexto capítulos, discutimos os modi operandi que Poe e de Alphonsus empregam nessa triangulação entre traços góticos, melancolia e o sublime. No último capítulo, valemo-nos em grande parte das teorias freudianas para demonstrar qual o resultado do jogo góticomelancólico entre Eros e Tânatos na poesia romântico-simbolista desses artistas. / The intent of this study is to draw analogies and contrasts between Edgar Allan Poe and Alphonsus de Guimaraens vis-à-vis the aesthetic principles they decided to impress upon their poetic work, chiefly as far as the themes of love (Eros) and death (Thanatos) are concerned. We have endeavored to describe that these poetic overtones are addressed from a gothic-melancholic angle in order to reach the sublime. In the first four chapters, we theorize on how the gothic, melancholy and the sublime can be intertwined poetically. In the fifth and sixth chapters, we discuss the modi operandi that Poe and Alphonsus employ in this tripartite relationship of gothic motifs, melancholy and the sublime. In the last chapter, we make use of Freudian theories to a large extent so as to demonstrate the outcome of this gothicmelancholic interplay between Eros and Thanatos in the romantic-symbolist poetry of these artists.

Fundação de Amparo a Pesquisa no Estado do Rio Grande do Sul / In the late eighteenth century, Ann Radcliffe established herself as one of the most famous novelists of her time, and she reached the peak of her career with her fourth novel entitled The Mysteries of Udolpho (1794). Although it is one of the most important gothic novels, this narrative has issues not much explored by critics yet. The Mysteries of Udolpho presents us with one of the strongest characteristics of Radcliffe s fiction, namely, the detailed construction of setting. In this sense, this work analyses and discusses the roles of setting, which is organized in the novel as natural or constructed setting. The analysis focuses on the relation between this thematic-formal aspect and the actions and personal relationships of the protagonist Emily with other characters. The discussion shows that the different types of setting are essential in the narrative once they have strong participation in the ideological construction of characters regarding the connection between sentimentalism and rationality. Therefore, the relation between setting and characters, in this particular novel, expresses important aspects of the complex development of the bourgeois sensibility in eighteenth-century England. / Em fins do século XVIII, Ann Radcliffe se estabeleceu como uma das romancistas mais famosas de sua época, atingindo o ápice de sua carreira com seu quarto romance intitulado The Mysteries of Udolpho (1794). Apesar de ser um dos romances góticos ingleses mais importantes, ele ainda apresenta questões pouco exploradas pelos críticos. The Mysteries of Udolpho possui uma das características mais fortes das obras de Radcliffe: a minuciosa elaboração do espaço. Em vista disso, este estudo analisa e discute as funções do espaço, o qual está organizado em natural e construído. A análise centra na maneira como esse aspecto temático-estrutural se relaciona com as ações e relações pessoais da protagonista Emily com as demais personagens. Discutimos como os diferentes tipos de espaço tornam-se essenciais por participarem de forma enfática na construção ideológica das personagens, no que diz respeito à associação entre sentimentalismo e racionalidade. Assim, a relação entre espaço e personagens nesse romance expressa aspectos importantes da complexa construção da sensibilidade burguesa na Inglaterra do século XVIII.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A tese se insere nos estudos sobre o gótico literário. Seu objetivo principal é mostrar o lar como lugar crucial para o desenvolvimento das temáticas caras ao gênero, destacando o corpo feminino como pivô. Na primeira parte, foram analisados estudos teóricos sobre o romance inglês, apontando para uma possível mudança na maneira como o gótico vem sendo tratado. Na segunda parte, obras ficcionais importantes para a discussão do lar e do corpo feminino dentro da tradição gótica foram analisadas, promovendo a articulação de tais obras com as diretrizes teóricas pertinentes. Finalmente, a terceira e última parte terá os romances Ciranda de Pedra, Daughters of the House e Lady Oracle como foco, a fim de apontar o modo como a narrativa gótica contemporânea assimilou as questões tratadas anteriormente / The present work is a study about the literary Gothic. Its main objective is to show the house as a crucial place for the development of themes related to the Gothic, highlighting the female body as a central figure. In the first part, theoretical studies related to the English novel are analyzed and a possible shift in the way the Gothic is dealt with is described. In the second part, relevant fictional works for the discussion of the house and of the female body in the Gothic tradition are analyzed in dialogue with pertinent theoretical ideas. Finally, the third and last part brings forth the novels Ciranda de Pedra, Daughters of the House and Lady Oracle in order to show how contemporary Gothic fiction deals with the issues previously discussed