This thesis aims to discuss the heroic and the monstrous aspects of Beowulf. In the heroic part, I will discuss Beowulf as a culture hero and a mythological hero; in the monstrous part, I will discuss Beowulf as a monster-man and monsters as man-monsters. Beowulf is about a hero who intends to prove himself by killing malicious monsters. The victory over the villains further brings Beowulf the character to the Geatish throne, though Beowulf¡¦s obsession with glory finally results in the fall of his kingdom. Beowulf¡¦s rise represents the rise of the Geatish kingdom and meritocracy; and his fall also triggers the fall of the kingdom. Beowulf¡¦s journey to the Danish kingdom also resembles Joseph Campbell¡¦s theories of mythological heroes. Beowulf has been regarded as a hero for decades, but however heroic, Beowulf embodies some monstrous tendencies. His rationale to kill repugnant monsters and gain glory in return does not work on the combat with Grendel¡¦s mother and the fire dragon, since the ogress kills Aeschere in order to avenge her only son¡¦s death; and the dragon causes strife because of the theft. The monsters, on the other hand, are somewhat heroic since they know the ethics of vengeance.

My main purpose with this paper of John Steinbecks Of mice and men is to both analyze the long-lived structures and the unique individual destinies of the novel. I employ the method of the historical Annales-movement and use three divided levels in my analysis to try to capture these high structures and low moments of humanity in Structure, Konjuncture and the Individuality. The first level, Structure, is used to see how long-lived almost invisible geographic structures set the human act of condition. The second level, Konjuncture, is easier to grasp in understanding of time and embraces for example economic structures as the industrialism. The last level of Individuality is the fastest in time and easiest to understand but in the long run also the least important. Humans are controlled by structures and norms. I try to inspect what these three levels look like in Of Mice and Men and how they affect each other and the main characters of the novel. I make use of Foucault and Butler in the Konjuncture-level to explore how power, production and discourse create structures that affects the working man and the “non-working” woman in Of Mice and Men. I adopt Butler to see how Steinbeck creates gender through clothes and working tools. In the Indivual-level we can see the effects of the other levels in the characters actions. For example how their sexual preferences are effects of the power-structure of the production (Rubin and Foucault), how a society see images of filth or purity when someone differ from the norm (Douglas and Foucault) and how we sacrifice one member of the social group to contain stability when chaos threatens (Girard).

No description available.

Le présent travail propose une réflexion sur l'aspect social des émotions par l'entremise d'un examen de la dimension conflictuelle de 3 émotions: le désir, la honte et le dégoût. L'aspect problématique de ces émotions se situe au niveau de leur hypertrophie, en ce qu'elle encourage une emphase sur le soi, sur l'autosuffisance et la toute-puissance de l'individu, ce qui se traduit par des répercussions interpersonnelles, notamment la réduction marquée de la diversité des relations humaines qu'entretient l'individu avec les autres, et intrapersonnelles, particulièrement la narcotisation de l'identité individuelle. Cette réflexion est animée par la pensée de 3 principaux auteurs: celle de René Girard et de Martha C. Nussbaum afin d'explorer, pour chaque émotion, les implications de leur hypertrophie chez l'individu, puis de l'incidence du contexte social sur l'hypertrophie de ces émotions; celle d'Hannah Arendt afin de mieux comprendre la dynamique des relations humaines et comme palliatif à ces répercussions interpersonnelles et intrapersonnelles.

Zugl.: Frankfurt (Main), Univ., Diss., 2007

Proefschrift Universiteit van Amsterdam. / Met bibliografie en samenvattingen in het Engels en Frans.

Thesis (Ph. D.)--West Virginia University, 2006. / Title from document title page. Document formatted into pages; contains iv, 228 p. Includes abstract. Includes bibliographical references (p. 219-228).

Thesis (Ph. D. in Religion)--Vanderbilt University, Dec. 2006. / Title from title screen. Includes bibliographical references.

Submitted by Douglas Gonçalves Leite (dgllpk@hotmail.com) on 2018-07-12T19:45:59Z No. of bitstreams: 1 Dissertação de Mestrado Douglas Gonçalves Leite.pdf: 3637073 bytes, checksum: 862cfe8465504cabc78dc9fa4b76982f (MD5) / Approved for entry into archive by Adriana Aparecida Puerta null (dripuerta@rc.unesp.br) on 2018-07-13T13:49:00Z (GMT) No. of bitstreams: 1 leite_dg_me_rcla.pdf: 3570557 bytes, checksum: 9797dab228f3bf66569d69ce53ed6b1e (MD5) / Made available in DSpace on 2018-07-13T13:49:00Z (GMT). No. of bitstreams: 1 leite_dg_me_rcla.pdf: 3570557 bytes, checksum: 9797dab228f3bf66569d69ce53ed6b1e (MD5) Previous issue date: 2018-05-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho discorre a respeito de dois textos do arquiteto e matemático francês Girard Desargues. As obras que aqui chamamos de Método de Perspectiva (1636) e Brouillon Project (1639), foram desenvolvidas em um período com ampla produção teórica relacionada a técnicas de representação. No trabalho de 1636 Desargues descreveu o processo necessário para representar uma gaiola em perspectiva. No trabalho, Brouillon Project, ele trata de propriedades geométricas envolvendo feixe de retas aproximando-se dos conceitos existentes no campo das projeções de figuras, contudo parte das referências utilizadas, como Chasles, Poudra, Taton, entre outros, consideraram que o Brouillon Project foi um trabalho relacionado as seções cônicas. Nosso objetivo é apresentar uma análise envolvendo os conteúdos geométricos explorados nas duas obras citadas com o intuito de relacioná-las com o campo da perspectiva e projeção de figuras. Para isso, desenvolvemos uma pesquisa em história da matemática envolvendo história perspectiva, história da geometria, forma de produção do conhecimento daquele período, em conjunto com teorias que estavam sendo produzidas até o séc. XVII. / The present work deals with two texts of the French architect and mathematician Girard Desargues. The works that we call the Method of Perspective (1636) and Brouillon Project (1639) were developed in a period with a large theoretical production related to representations of figures in perspective. In the work of 1636 Desargues described the process necessary to represent a cage in perspective. At work, Brouillon Project, he dealt with geometric properties involving beam of straight lines approaching the existing concepts in the field of projections of figures. However, some of the references used, such as Chasles, Poudra, Taton, and others, consider that the Brouillon Project was a work related to the conic sections. Our objective is to present a study involving the geometric contents explored in the two works mentioned, seeking to relate them to the field of perspective and projection of figures. For this, we developed a research in history of mathematics involving history, perspective, history of geometry, form of knowledge production of that period, together with theories that were being produced until the century. XVII.

Orientador: Lucia Nagib / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-05T13:11:24Z (GMT). No. of bitstreams: 1 Miranda_SuzanaReck_D.pdf: 2131895 bytes, checksum: 29d857e5d36fd63130e9911fe9539507 (MD5) Previous issue date: 2006 / Resumo: Esta tese propõe uma análise da relação música/cinema fundamentada em discussões que demandam uma interface entre a Musicologia e a Teoria do Cinema. O objeto de estudo é o filme Thirty Two Short Films about Glenn Gould (1993), do canadense François Girard. O universo musical do filme sugere uma análise específica, muito além da mera funcionalidade da música em relação à diegese. O objetivo é evidenciar como Girard executa cinematograficamente uma leitura sobre posicionamentos estéticos do pianista Glenn Gould e, com isto, ampliar a reflexão em torno da interface música/cinema. A metodologia adotada dialoga, em parte, com a abordagem de cunho fenomenológico de Michel Chion. Entretanto, pelo fato de ser um filme no qual a presença da música, além de assunto, constitui o principal modo de expressão, optou-se por estabelecer, sempre que necessário, aproximações entre a teoria do cinema e da música / Abstract: This thesis proposes an analysis of the film/music relationship through discussions at the interface between Musicology and Film Theory. The chosen subject is François Girard¿s film Thirty-two short films about Glenn Gould (1993). A specific approach is required in order to study the music in this film because of the musical world interpreted here by Girard. The idea is to show how Girard gives a cinematic reading of Glenn Gould¿s aesthetical position and, through this reflection, to provide a contribution to the field of Film Music. The theoretical support for this thesis comprises a number of influential authors on music and cinema theory, with focus on Michel Chion¿s phenomenological orientation / Doutorado / Doutor em Multimeios