Thesis (Ph. D.)--Bob Jones University, 1991. / Vita. Includes bibliographical references (leaves 379-398).

Thesis (Ph. D.)--Bob Jones University, 1991. / Vita. Includes bibliographical references (leaves 379-398).

Made available in DSpace on 2014-12-17T15:07:15Z (GMT). No. of bitstreams: 1 SamuelAOL_TESE.pdf: 2713768 bytes, checksum: df901c33a33f09ae68f9bfe120874121 (MD5) Previous issue date: 2013-04-05 / The exponential figure of Greg?rio de Matos e Guerra has been subject of many theoretical discussions through the years, since his apparition in a public place, in the 19th century, and even more, during the 20th century, when he was salvaged by the modernist vanguard. As a result, there are yet two antagonist points of view linked to Greg?rio de Matos, on one side, there some researchers who defend him, on the other, some of them attack him. The first ones say this poet from Bahia was the first literary voice in Brazil, from the Baroque basis, while the last ones say he is a merely plagiarist of the Spanish poets from the 17th century, without a real contribution to the development of Brazilian Literature. With this in mind, this thesis follows the perspective this poet is an anthropophagus-baroque, devouring cultures, with an active participation in the process of our cultural and literary identity. For that reason, it was made a literature review about the biography of this poet trying to break romantic descriptions, emphasizing some scientific facts that can contribute to present the baroque profile of this poet. In this sense, it was discussed the History of Literature focused on this creole poet, mainly based on the historians point of view about the Gregorian poetry in the formation of Brazilian Literature scenery. In the defense of the hypothesis that Greg?rio de Matos was our first anthropophagus, this work aims to analyze how his poetry reveals the intrinsic characteristics of Baroque and Anthropophagy, focusing its carnivalesque aspect, showing to the world, with a satiric tone, the idiosyncrasies of human life. In this way, analyzing this corpus in Spanish is the strength of this thesis because, besides it is previously unpublished, it contributes to the comprehension of the anthropophagy as a theoretical mechanism that explains the process of formation of our cultural literary identity. Then, we have Augusto de Campos (1968; 1978; 1984; 1986; 1988), Haroldo de Campos (1976; 2010a; 2010b; 2011), Severo Sarduy ([1988?]), Oswald de Andrade (1945; 1978; 2006), Mikhail Bakhtin (2010), Octavio Paz (1979), Segismundo Spina (1980; 1995; 2008), Afr?nio Coutinho (1986a; 1986b; 1994), Affonso ?vila (1994; 1997; 2004; 2008), among others, to constitute this theoretical scenery. The Gregorian poetry, in this way, have contributed to the formation of baroque-anthropophagic scenery in Brazilian boundaries, with a special attention to the transition of time, because he is not only from the 17th century, established by the historiography, but his work is present nowadays due to the contemporaneously of his themes, centered to the eternal doubts of baroque man / A figura exponencial de Greg?rio de Matos e Guerra tem sido motivo de muitas discuss?es te?ricas ao longo dos anos, desde o seu aparecimento em pra?a p?blica, no s?culo XIX, e ainda mais, no s?culo XX, quando foi resgatado pela vanguarda modernista. Resultado disso, ainda existem dois lados antag?nicos quando se trata de Greg?rio de Matos, os que o defendem e os que o acusam. Os primeiros defendem a posi??o de que o poeta baiano foi a primeira voz liter?ria no Brasil, al?ada sob as bases do Barroco, e os outros o acusam de ser ele um mero imitador dos poetas espanh?is do s?culo XVII, sem, portanto, ter contribu?do significativamente para a forma??o da Literatura Brasileira. Esta tese, por sua vez, segue o pensamento daqueles que defendem o poeta como barroco-antropof?gico, devorador de culturas, com participa??o ativa no processo de forma??o da nossa identidade cultural e liter?ria. Para esse fim, foi feito um rastreamento das biografias do poeta a fim de que muitas das descri??es rom?nticas ali presentes fossem desromantizadas dando ?nfase aos aspectos biogr?ficos mais cient?ficos que contribu?ssem para compor o perfil do poeta barroco. Nesse mesmo sentido, foi discutido o olhar da Hist?ria da Literatura sobre o poeta mazombo, especificamente observando a posi??o dos historiadores sobre a poesia gregoriana no cen?rio da forma??o da Literatura Brasileira. A fim de defender a hip?tese de que Greg?rio de Matos foi nosso primeiro antrop?fago, este trabalho procurou observar como seus poemas revelam as caracter?sticas intr?nsecas do Barroco e da Antropofagia, com evid?ncia na sua vertente carnavalizante, expondo ao mundo, satiricamente, os interst?cios da vida humana. E nesse percurso, a an?lise do corpus em espanhol ? um dos pontos altos da tese porque, al?m de ser in?dita, contribui para a compreens?o da antropofagia como mecanismo te?rico que explica a forma??o da nossa identidade liter?rio-cultural. Assim, s?o convidados para compor a cena te?rica Augusto de Campos (1968; 1978; 1984; 1986; 1988), Haroldo de Campos (1976; 2010a; 2010b; 2011), Severo Sarduy ([1988?]), Oswald de Andrade (1945; 1978; 2006), Mikhail Bakhtin (2010), Octavio Paz (1979), Segismundo Spina (1980; 1995; 2008), Afr?nio Coutinho (1986a; 1986b; 1994), Affonso ?vila (1994; 1997; 2004; 2008), entre outros. A poesia gregoriana, sob esse aspecto, contribuiu para a composi??o do cen?rio barrocoantropof?gico em solo brasileiro, com sentido especial para o car?ter transtemporal que lhe ? dado, uma vez que n?o est? s? no Seiscentos, nas amarras da historiografia, mas tamb?m est? presente hoje na atualidade de seus temas, ancorados pela eterna d?vida do homem barroco

[pt] Esta dissertação visa discutir as relações entre jornalismo e entretenimento na sociedade contemporânea. Realizamos um estudo de caso sobre um programa televisivo autodenominado noticioso humorístico com o objetivo de analisar, a partir de autores dos estudos em jornalismo, a estratégia de infotenimento utilizada. O estudo foi feito a partir de uma pesquisa bibliográfica que descortina uma contradição histórica constitutiva do campo jornalístico na Modernidade – a polaridade entre cumprir uma função educativa ou uma função de entretenimento – apontando que o infotenimento é compreendido como um formato híbrido contemporâneo que funde informação jornalística com entretenimento. Tivemos como recorte os 14 episódios da segunda temporada do programa Greg News, exibidos em 2018 no canal por assinatura HBO Brasil e reproduzidos no Youtube. / [en] This dissertation aims to discuss the relationship between journalism and entertainment in contemporary society. We carried out a case study on a television program self-styled humorous news aiming to analyse, based on journalism studies authors, the infotainment strategy used in the show. The study was based on a bibliographic research that reveals a historical contradiction, which is intrinsic to Modern journalism - the polarity between playing an educational role or operating as entertainment - pointing out that infotainment is understood as a contemporary hybrid format that fuses journalistic information with entertainment. This case study analysed 14 episodes from the second season of the program Greg News, aired in 2018 on the cable TV channel HBO Brazil and reproduced on YouTube.

Le but de ce mémoire est la description et l'analyse de la langue d'"AT" (au niveau lexical principalement) en tentant d'y repérer des tendances ; parallèlement aux procédés ״normaux״ et prévisibles du français, nous y découvrons des faits insolites et irrésistiblement drôles. Greg, l'auteur d'“AT“, manipule le mot dans sa morphologie et sa graphie avec une intention d'expressivité pour nous amuser, nous faisant par la même occasion prendre conscience de la complexité de notre langue française. Nous sommes amenés à démonter quelques mécanismes d'humour d'origine linguistique et à faire une réflexion sur le langage en général. Pour ce faire, nous utilisons un corpus de plus de 400 mots, dont la majorité, que nous avons appelés talonnismes, sont des mots complètement nouveaux ; nous donnons ensuite un aperçu d'autres phénomènes. / Québec Université Laval, Bibliothèque 2017

Made available in DSpace on 2014-12-17T15:06:53Z (GMT). No. of bitstreams: 1 CiroSS_DISSERT.pdf: 1911085 bytes, checksum: 023bf5ef8678324097983e16fb2d0dbb (MD5) Previous issue date: 2011-10-07 / La pr?sence de la Bible dans la po?sie du Boca do Inferno est un fait certain pour ceux qui gardent une m?moire litt?raire des compositions t?nues comme sacr?es par la perception religieuse. Ce travail de conclusion de Mestrado, qui a comme titre Dieu et le diable dans la po?sie de Greg?rio de Matos, pour r?pondre ? la question portant sur la fa?on dont le po?te baihanais s approprie de l h?ritage biblique, d?veloppe le th?me de la qu?te gr?gorienne des ?critures pour faire de la parodie au moment d ?laborer sa po?sie. Pour rendre effectif un tel travail, l ?tude fait recours surtout ? la fortune critique-th?orique construite dans les essais de Haroldo de Campos qui se consacrent ? l oeuvre de Greg?rio de Matos et aux textes bibliques en tant qu h?ritage litt?raire de haute valeur. Ce travail fait encore recours aux constatations sur l art-culture baroque formul?es par Helmut Hatzfeld et par Jos? Antonio Maravall, et ? la th?orie anthropaphagique de la formation de la culture br?silienne, ?tablie par Oswald de Andrade, ? fin de donner un support aux observations faites lors de la lecture de la po?sie gr?gorienne. L anthropophagie biblique mise en rite par Greg?rio de Matos en tant que travail qui pr?c?de l ironie parodique rep?rable dans ses textes est un aspect de son oeuvre qui r?pond pour son caract?re unique: r?cits de la Bible juive, la po?sie de l Eccl?siaste et des passages des ?vangiles font ?cho dans l oeuvre du po?te br?silien. / A presen?a da B?blia na poesia de O boca do inferno ? fato inquestion?vel para quem detenha uma mem?ria liter?ria das composi??es consideradas sagradas pela percep??o religiosa. A disserta??o Deus e o diabo na poesia de Greg?rio de Matos, para responder ? quest?o de como o poeta baiano se apropria do legado b?blico, desenvolve o tema da busca gregoriana pelas Escrituras para fazer par?dia ao elaborar poesia. Para efetivar tal trabalho, o estudo recorre principalmente ? fortuna cr?tico-te?rica constru?da na ensa?stica por Haroldo de Campos ao abordar a obra gregoriana e os textos b?blicos enquanto legados liter?rios de alto valor. Al?m disso, este trabalho busca as constata??es sobre a arte-cultura barroca, apresentadas por Helmut Hatzfeld e por Jos? Antonio Maravall, e a teoria antropof?gica da forma??o cultural brasileira, estabelecida por Oswald de Andrade, a fim de dar sustenta??o ?s observa??es registradas quando da abordagem da poesia gregoriana. A antropofagia b?blica ritualizada por Greg?rio de Matos como trabalho precedente ? ironia par?dica recuper?vel em seus textos ? aspecto de sua obra respons?vel por torn?-la una: narrativas da B?blia hebraica, a poesia do Eclesiastes, passagens dos Evangelhos ecoam na obra do poeta barroco brasileiro.

Cette thèse vise à préciser en quoi réside l'originalité de la bande dessinée (BD) humoristique Achille Talon (AT) par rapport au système du français (code linguistique) et aux conventions de la BD (code iconique). Afin de définir le style d'AT, elle en explore diverses manifestations de créativité (talonnismes). Avec de nombreux exemples, la thèse s'attache à nommer et à décrire les moyens et les signes les plus "parlants" qui ont servi au bédéiste (Greg). Au lieu d'un seul cadre d'analyse général qui masquerait l'ampleur et la diversité de l'oeuvre, plusieurs sont proposés selon la nature des éléments à l'étude. Portant sur ce qui fait la singularité d'AX au regard des systèmes linguistiques (chap. 2 à 6) ou extra-linguistiques (chap. 1 et 7), la thèse touche à plusieurs domaines: sémiotique visuelle, linguistique (phonétique, morphologie, lexicologie, syntaxe), stylistique et rhétorique ("figures de style"). Le repérage des signes "marqués" ou imprévisibles qui génèrent le comique ainsi que la reconnaissance de leur articulation en un système cohérent servent de fil conducteur. Une approche sémiologique permet une vue globale de l'oeuvre. On observe que Greg exploite de manière systématique (et paroxysmique, pourrait-on dire) les possibilités ludiques offertes par deux vastes systèmes de communication ou langages (texte et image de BD) qui s'interpénètrent pour transcoder la langue "parlée" par ses personnages. L'auteur réalise ainsi une combinatoire insolite des signes qu'il choisit tant dans l'inventaire de la BD (idéogrammes, ballon, etc.) que dans celui de la langue (depuis ses plus petites unités, phonèmes et graphèmes, jusqu'aux unités phraséologiques et au discours). Les nombreux procédés constituent de véritables sous-systèmes, qui à leur tour forment un style véritablement propre à AT. Source inépuisable de comique, AT. va toutefois au-delà du divertissement; cette oeuvre, qui stimule notre conscience linguistique et fait appel au savoir partagé, nous entraîne à une réflexion sur le langage; elle constitue aussi un mode privilégié d'introduction à la linguistique. La thèse met en évidence la maîtrise de Greg sur le matériau, tant linguistique q u 'iconique, et sur ses règles d'assemblage; elle tente de présenter une vue d'ensemble cohérente qui puisse servir aux férus de BD et de linguistique. / Québec Université Laval, Bibliothèque 2017

Fibre reinforced polymers (FRPs) have gained considerable popularity as a building and repair material. In particular, FRPs have been an economical means of extending the life of structures. As time passes, an increased number and variety of new and old structures are incorporating FRPs as reinforcement and for rehabilitation. Perhaps most common are their applications for bridge structures. Much of the reluctance towards the inclusion of FRP as primary reinforcement or as a rehabilitation measure in building structures is due to its poor performance in fires. In order to move forward with an understanding of how FRP may overcome its temperature-related short comings, it is important to explore the behaviour of FRP, and structures which utilize FRP for reinforcement, at elevated temperatures. The results of a testing program including eleven high temperature, two room temperature intermediate-scale, FRP-strengthened, and one unstrengthened reinforced concrete beam tests are presented. The elevated temperature tests were conducted on both un-post-cured and post-cured FRP strengthening at temperatures up to 211°C. The tests also utilized a novel method for heating and post-curing FRP-strengthening in place. The strengthened beams exhibited strength gains above the unstrengthened reference beam, and it has been demonstrated that post-curing of an FRP system can be effective at increasing an FRP’s performance at elevated temperatures. Exposed to constant temperatures, un-post-cured specimens still exhibited substantial FRP strength at exposure temperatures up to Tg+79°C. Post-cured specimens exhibited similar performance at temperatures of Tg+43°C. The transient temperature tests resulted in ii beam failure at an average temperature of 186°C and 210°C for un-post-cured and post-cured FRP strengthening respectively at a constant applied load level 93% of that of the room temperature strengthened control beam. The results of this testing program demonstrate that FRP strengthening can remain effective when exposed to temperatures well above the measured value of Tg. / Thesis (Master, Civil Engineering) -- Queen's University, 2013-02-28 15:14:31.336

Master of Music / Department of Music / Kurt Gartner / This is a report intended for musicians and scholars who seek to enhance their understanding of any number of the following compositions: Prelúdio No. 1 Mi Menor (E Minor), op. 11 by Ney Rosauro, Prelúdio No. 2 la maior (A minor) by Ney Rosauro, Rotation IV by Eric Sammut, Water Falls for a Desert by Greg Coffey, Strands of Time by Brian Blume, Surface Tension by Dave Hollinden, bitsmoke by Casey Farina. Each work has been analyzed examined in accordance with Jan LaRue’s Guidelines For Style Analysis. For some compositions including only relative-pitch instruments, analysis of harmony has been omitted. For all compositions, the author has added notable performance considerations, essential technical and interpretive considerations in accord with LaRue’s guidelines. Therefore, the approach taken in analytical categories of this document can be exhibited as Sound, Harmony, Melody, Rhythm, Growth, and Performance.

Principles of design composition are commonly understood to pertain to geometrical systems for arranging parts in assembling a formal whole. Connection to socio-cultural 'meaning' and relevance arguably occurs primarily via the assumed divinity or universality of these systems. In the contemporary architectural world, where explicitly held beliefs in fundamental, geometrically defined principles or values have dissipated, guiding principles of composition appear to be obsolete. This seems particularly true in relation to work that highlights process - or change, responsiveness, interactivity and adaptability - since this implies that the composition remains in flux and unable to be grounded in the composition of form. While processually inflected architecture (referred to here as 'processual architecture'), has been an active field since at least the 1960s, it has been significantly developed since design experiments involving digital computation intensified in t he 1990s. For this field of work, both highly celebrated and criticised as superficial or unethical, any connection to 'meaning' or value that might be offered by principles of composition would appear especially lost. This thesis reviews, counterpoises and reorients these assumptions, arguing a case for the value of processual architectural that has not been previously articulated. After the last 10 to 15 years of digital experimentation, it is clear that digital technology in itself is not the primary issue, but simply part of a complex equation. The thesis articulates this 'equation' through the model of emergence, which has been used in the field with increasing prominence in recent years. Through both practice-based research and theoretical development, a processually inflected theory of composition is proposed. This offers pathways through which the potential of processual architecture might be productively developed, aiming to open this field of work into a deeper engagement with pressing contemporary socio-political issues. The thesis demonstrates how the cultivation of particular modes of attention and engagement, found to hold an implicit but nevertheless amplified significance within processual architecture, make it possible to develop an embodied awareness pertaining to an 'ethico-aesthetic know-how'. This know-how is acquired and matured through attention to the affective dimensions that arise through design activity. The thesis highlight aspects of design process and products that are routinely suppressed in architectural discourse, generating new insights into the importance of affect for design process, design products and the relations between them. The ethical dimensions of such an approach become especially poignant through the explicit connection made between design activity and the practices of everyday life. Relationships between architecture and the social become re-energised, in a radically alternative manner to the social agendas of modernism or the more literary critiques of post-modernism. Through detailed discussions of the specific, local conditions with a series of design projects I have undertaken, I argue how and why close attention to the affective dimensions of design process offers new and productive ways to approach research through design practice. This offers a response to the calls for new 'post-critical' forms of research through empowering both sides of a previously held divide: theory and practice.